Review: Original Montreal selector Ouimet follows up his inaugural edit volume release last summer with three more classically crafted edits. Full floor focus, uptempo and deeply dug, they tick every box you'd expect from one of the original disco pioneering DJs. "Come Party" is a call to action, full horns and feels running throughout. "Where's Eugene" asks all the important questions over a rampant slap bass freak out while "Rob Can't Stop" brings us to an exultant climax with rolling drums and more slap bass that's so rude it should come with a health warning. Don't say yes, say oui!
Review: Robert Ouimet - the Godfather of Montreal disco - puts his magic touch on three tracks for British disco label Basic Fingers. A DJ/producer since the early '70s, Ouimet was a regular contributor to The Steede Report (published from 1975 to 1979) writing a column dedicated to the recent arrivals of imported records, in addition to his role as a disc jockey. He was also responsible for remixing Francine McGhee's vocal/instrumental mixes of "Feeling Good" and "Delirium", which both charted in the UK in 1977, as well as also Gino Soccio's "The Visitors" - having been a consultant to the fellow Montrealer on his first three LP's.
Review: The Chordz EP brings it with 3 hot new modern Boogie tracks.
Label Hero Newman opens the release with the title track 'Chordz' - a synth-fuelled dancefloor banger, reminiscent of Harvey Sutherland's recent work. Flip it over and Ourra (aka Simon Tappenden aka 'Pop Out N Play') brings us a truly Tropical treat reminiscent of Palm Trees, Pina Coladas and 80's Miami sunsets. Last but not least, Keyboardist for Brian Ellis, Adam Chini plays 'Horizons of Funk'... a lush down tempo synth funk number bringing the EP to the perfect close.
Review: Late last year, French imprint Chuwanag launched via a fine compilation exploring the early '80s Britfunk sound (think jazz-funk and electrofunk) in impressive detail. You'll find numerous aural nods to that style on this follow-up, a fine debut single from producer Koji Ono. Check, for example, the sparkling synthesizers, hustling guitars and house-tempo jazz-funk grooves of "So High", the wiggly Clavinet lines, whistling melodies and rubbery bass of "Inner Rhythms" and the luscious, misty-eyed warmth of ear-pleasing mid-tempo instrumental jam "Momoshima". All are exquisite examples of revivalist cuts that boast more than enough freshness and impeccable instrumentation to bear comparison to the records that inspired them.
Original Love - "Love Vista" (feat Clementine - Larry Heard instrumental dub) (5:39)
Shantell Sisters & Keva Band - "Ouch" (dub) (6:48)
The Joneses - "Sugar Pie Guy" (Tee Scott club dub) (6:13)
Review: The Edit & Dub Recordings label out of Tokyo is seriously impressing us as of late, with this new remix EP being the best of their material to date. That's because they have the house master, Chicago dance wizard, Larry Heard aka Mr Fingers remixing Original Love's "Love Vista" into a gorgeous house track with a sublime dub sensibility that suits it down to the bone - this is tune of the week for us and we cannot recommend it enough. However, the dub version of "Ouch" by the Shantell Sisters & Keva Band, which is actually more of a disco banger, is no less masterful in its execution and italo-leaning tendencies. Finally, Tee Scott delivers a dub of "Sugar Pie Guy" by The Joneses, a percussion-heavy boogie monster with a buzzing bassline ready to conquer the floor good and proper.
Les Portrait Le Diacre Astvatsatour Sarkissian (6:06)
Folle Vendredi Soir (6:14)
Review: Moscow-based editors Olta Karawane let loose on Special Delivery with five exceptional intergalactic sleaze jams. Each one sprinkled with their own sonic stardust, highlights include the sultry cake-listing koshmiche mash of "Les Portrait Le Diacre Astvatsatour Sarkissian", the Moroder-goes-b-boy-on-Omicron-Persei-8 jitters of "Farine" and the peg-leg post-punk and woozy Tropicana of "Oinj". Topped off with an epic synth chariot of fire "Racaille", it's another remarkable trip from one of Russia's most enigmatic disco acts.
Review: Out 2 are the product of a New York-based partnership between Jeremy Campbell and R. Zanzibar, who are just the kind of cult operators that Emotional Response so dearly love. With one foot in classic Talking Heads inspired funk variations and the other in the catch-all stylistic melee of the modern age, this is highly developed party music for well-read rug cutters to bust out shapes to. Just check the gorgeous synth violin styles on "Fire" or the heavy dub beatdown of "Rubber Hour" - these cats know what they're doing. All new-no-minimal-wave lovers take note!
Review: Glasgow's Ooft! continues the FOTO-X series on his label with a sure shot 12" that presents two tracks sure to nestle their way into all manner of on-point record bags for many moons to come. First up is iLO who plays the long game with a yearning and burning slice of deep house that starts out stripped and subtle before blossoming into a fully-fledged vocal delight. Ooft! takes care of the B-side with a boogie-tasting get down entitled "Howard's Way" which will get heads nodding and bodies popping to a bassline that calls to mind Evelyn King's much loved "I'm In Love" low end destroyer.
Electric Mind - "Summing Up" (Massimo Beradi rework) (5:53)
Maurice McGee - "Styx" (DJ Rocca 808 edit) (6:24)
Orlando Johnson - "Turn The Music On" (Re Tide remix) (6:53)
Review: More from re-launched Italo-disco era label Full Time Records, who here present four fresh reworks of tracks from the vaults. G.A.M.M-signed scalpel hero Moplen steps up first to deliver a fine dubbed-out re-edit of Boeing's slap bass-propelled electrofunk classic "Dance To The Beat", before Massimo Beradi adds a little subtle, mid-tempo house flavour to Electric Mind's lesser-celebrated 1982 Italo-disco jam "Summing Up". DJ Rocca opens side B in some style, hammering away at a TR-808 drum machine while giving Maurice McGee's 1984 cut "Styx" an altogether deeper vibe. Meanwhile, Re-Tide turn Orlando Johnson's Paradise Garage favourite "Turn The Music On" into a muscular chunk of bass-propelled boogie-house badness.
Review: The late nite stepper, the strut in the stuff that leaves you wanting more. That goodnight kiss, that early morning mist. Mystery producer Olmos steps to the plate for his debut 12" on Hot Shot Sounds, boogie funk vibes paired with modern nods to house- stomping OG mix backed with remixes from label boss Inkswel and Faces & McDE maestro Pablo Valentino.
Review: Los Charly's Orchestra sorts Juan Laya and Jorge Montiel first worked with veteran British soul singer Omar on their 2017 double A-side single "It's So/History". All involved clearly had a good time, because they've decided to repeat the exercise. "Fire" is arguably a step up, with Omar's honeyed vocals soaring above a rubbery groove, heady female backing vocals, cut-glass strings and punchy horns on the standout "Classic Disco Mix". Elsewhere, the noticeably heavier "Neo-Soulful Disco Mix" sounds like the kind of sumptuous, all-organic soulful disco-house fare we'd expect to hear from the likes of Joey Negro and Yam Who. Wisely, the duo has also included instrumental revisions of both versions. We prefer the superb vocal takes, but it's nice to have the choice.
Rushing Through My Mind (Mang Dynasty extended version) (8:03)
Rushing Through My Mind (Mang Dynasty instrumental version) (7:00)
Rushing Through My Mind (Mang Dynasty radio edit) (3:56)
Review: Ray Mang's slick disco stable Mangled calls upon a new pair of provocateurs to lay down a sun-kissed steamer to blow away those winter blues. The agents in question are Josefin Ohrn and The Liberation, and their "Mang Dynasty" is every inch the Balearic idyll rendered in a long form discoid jam. The extended version on the A side fully floats out into gently psychedelic waters guided by Ohrn's infectious hook, "I've got you rushing through my mind." For those who just want the groove there's the instrumental mix available as well, or you can always plump for the radio edit if time is short.
Review: Masterworks Music mastermind 80's Child unleashes the third volume of his Masterworks compilations. This is a two-part vinyl release with the first part featuring The Funk District hailing from Cancun, who kicks off the A side with "The Funky Joint". He gets a good ol' time shuffle going before handing it over to Parisian Oldchap for a proper low-slung boogie in the form of "To The Top". On the flip, Godfather of the western Australian dance scene Dr. Packer gets down with a wicked edit on the late night sexiness of "Your Big Chance" and fellow Mexican Hotmood goes out on a high note with smokin' hot vocal number "Raw Dance".
Review: Having set out their stall via a fine first collaborative release on Bordello a Parigi a couple of months back, Mytron and Ofofo pitch up on Multi-Culti. As you'd expect from a label with such a strong track record of multi-cultural musical fusion, much of the EP defies easy categorization. Sure, you'll find a chunk of Italo-influenced electro ("Non-Binary Joys on the Venus Holodeck") and a couple of slabs of madcap disco-funk fusion ("Si Jambo" and "2Tac Onana"), but also a heavyweight slab of low-slung punk-funk/post disco ("Czary Mary"). Oh, and the skewed electro-funk-meets-intergalactic synth pop insanity of "Something for Your Mind", which also boasts some notably brain-melting vocoder action. More, please!
Review: The clue is in the title... OTE step up with two sparkling afro diamonds right here. Two of the coolest sides of the vibe coin, too: "Back To Kingston" is a carnival meltdown-in-waiting. Acidic, stamping, scorched with horn drama and gutsy vocals, this will absolutely shatter floors this summer. The label's own Jimmy Rogue maintains the heat with a much deeper, understated funk build on "Yeah Yeah", but when that acid and those horns riff back in.... Oh boy.
Review: On Orange Tree Edits' previously releases, label honcho Jimmy Rouge and his merry band of scalpel fiends largely focused on reworking old African records. This time round, Rouge has decided to switch focus, serving up two tasty re-interpretations of what sound like Japanese tracks. A-side "Dorian" is arguably the pick of the pair for peak-time plays, with Rouge teasing out a simmering disco cut before ratcheting up the intensity via rock solid drum machine beats and a mind-altering TB-303 acid line. On the flip, he gets busy with a Rhodes-heavy jazz-funk workout, slyly adding and removing beefy new beats whilst retaining much of the languid original instrumentation.
The O'Jays - "This Time Baby" (A Tom Moulton mix) (9:52)
The Futures - "Party Time Man" (A Tom Moulton mix) (9:10)
Jean Carn - "My Love Don't Come Easy" (A Tom Moulton mix) (10:46)
The Jones Girls - "Nights Over Egypt" (A Tom Moulton mix) (9:09)
Review: Philadelphia International Records continues to dip into its bulging archives and offer up double-packs containing some of the finest 1970s remixes from remix pioneer Tom Moulton. As you'd expect, there's plenty to get the juices flowing and the heart pounding on this third volume in the series. Record one opens up with Moulton's epic version of the O'Jays' "This Time Baby", a swirling Philly Soul classic that later became a favourite of sample-loving disco-house producers and disco re-editors, and continues with his sugary but floor-friendly version of the Futures' "Party Time Man". Over on record two, Moulton's inspired extension of Jean Carn's seductive "Love Don't Come Easy" is followed by his must-have version of the Jones Girls' "Nights Over Egypt".
Review: Cruising nice and easy into earshot on the Smokecloud imprint, byDesign and Osmose take a side each in chopping up some choice old classics with a tender touch to work in modern contexts. byDesign gets the whole A-side to roam over with a version of Diana King's cover of the Bob Marley classic, "Stir It Up", working on a 90s flavoured hip hop groove and dubby cuts of King's vocal. On the flip, Osmose is having a lot of fun working on Alexander O'Neal's "Fake", keeping the tough beat intact and instead letting the effects bring in the changes. While the origin of the last track on the 12" is undetectable at this point, "Slomo Tattoo Dubbed" comes on like a prime slice of Balearic goodness, packing easy horn blasts, funky guitar licks and a whole lot of filter action.
The Silver Rider - "I Need U" (Osmose retouch) (5:56)
JP Source - "Justa Second" (6:41)
Hristo - "Love Me" (5:07)
Review: More Beatdown business from vinyl-only warriors Smokecloud. Osmose steps forward with the first half; "Help Me DISCOver" is a sample-savvy filtered enlightener while his edit of the Silver Rider goes for a much heavier, floor-pounding sense of insistency. Flip for twists from JP Source and Hristo. The former gets busy on a densely textured and tightly plucked guitar line while the latter takes us right down into sleazy town with an Isaac Hayes level of gravelly vocals and a sweaty guitar and organ pumped groove.
Review: All vinyl, all the time... We know how Osmose rolls. And so do Smokecloud, his most consistent home since he emerged as a producer in the early 2010s. This beautiful two-tracker is no exception as he flexes from his lavish synth boogie take on the Haywood-referencing "Out To Catch" to the slower-burning stomper "Me N U" that gradually smouldering into a raw funk groove fire with Booker T-style results. Powerful, all the time...
Review: Smokecloud Records has long claimed to be the World's only imprint dedicated to Detroit Beatdown style reworks of funk, soul, disco and boogie gems. Whether this is true or not, there's no denying the consistent quality of the imprint's output. This latest release features contributions from two label stalwarts; owner and A&R man Osmose, and New Yorker The Silver Rider. The latter kicks things off with "I Wanna Be", a rolling, soft touch head-nodder that fuses elements of a tactile soul cut with hypnotic, pitched-down house beats and filter sweeps. It's rather good, but nowhere near as inspired as Osmose's "Trust", which turns a classic Motor City soul cut into a smooth, toe-tapping Beatdown shuffler.
Review: Some people like to Netflix and chill, Osmose prefers to "Cook & Chill". From a classically trained selector we'd expect nothing less... "Get It Straight" is the spicy starter, steamed with big soul emotion and orchestration and very familiar voices. "Disco Pagen Fantasy" is a meaty main course. Unhurried and hearty, the flavours really kick in as the swooning strings mark the development of the loop-heavy downbeat groove. Finally for pudding we're sent to bed satisfied and satiated with a lovingly languished citrus slo-mo jam. Delicious.
Review: Four years deep into its disco, beatdown and edit adventures, Smokecloud's status is nigh-on impeccable. Here we find them uniting four of their most creative craftsmen for four straight-up dancefloor pacifiers. Highlights include the sludgy slo-mo Edwin Starr on acid flavoured "Caught Up" and the Diana Ross homage that is the sun-skanked reggae party jam "CC Tribute" by VinylAddicted & SMQ. Instant smiles.
Review: Beatdown disco rework specialists Smokecloud have assembled a crack team of troops for their latest salvo into no-man's-land. Leading the charge and lobbing the first "Disco Grenade" is label chief Osmose, who contributes two tight cuts: loopy, filter-sporting disco chugger "Disco Luv" - a study in ear-pleasing, head-nodding hypnotism rich in musical positivity - and the more up-beat disco-funk thrust of flipside opener "U Promised Me", which sees him make merry with a cheery AOR disco favourite. Elsewhere, Oldchap delivers the obligatory slo-mo disco flier - think 98BPM beats, rising backing vocals, disco-rock grooves and jaunty Rhodes stabs - while The Funk District's "A Gangster Film" is a Blaxploitation-inspired bouncy disco-house treat.
Greg Wilson - "Summer Came My Way" (feat The Reynolds - Luxxury mix) (9:17)
Oddfellow's Casino - "The Ghosts Of Watling Street" (Greg Wilson & Peza mix) (5:18)
The Super Weird Society - "Gone With The Vibe" (Henry extended mix) (4:50)
The Reynolds - "Don’t You Worry Baby The Best Is Yet To Come" (Greg Wilson & Peza mix) (8:46)
Review: As the title suggests, Super Weird Select Volume 1 gathers together some of the most sought-after cuts on Greg Wilson's growing Super Weird Substance label. First up is Luxxury's deliciously languid, poolside nu-disco take on Wilson's own "Summer Came My Way", featuring the attractive and cheery vocals of regular collaborators The Reynolds. Wilson and Peza's rework of "The Ghosts of Watling Street" by Oddfellow's Casino is a gently acid-flecked nu-disco shuffler, while the Henry Extended Mix of The Superb Weird Society's "Gone With The Vibe" is a p-funk flavoured electrofunk workout. Arguably best of all, though, is the classic disco soulfulness of Wilson and Peza's closing remix of The Reynolds' Bessie Banks cover, "Don't You Worry Baby The Best Is Yet To Come".