DJS: MOST CHARTED - DISCO - MOST CHARTED SEPTEMBER 2013

Review: Yes! A brilliant induction into the Neroli annals of fame for Mr Dego and his 200 Black crew; joining the likes of Domu and Nubian Mindz in adding some classic bruk boogie perspective to Volcov's long running label. There's numerous reasons to check this triple hitting Find A Way plate, not least the title cut where Dego teams up with Akwasi and Kaidi Taiham, with the latter offering up a rare turn on vocals as opposed to manning the keys; the results are sublime and soul enriched boogie which offers a nice contrast with the deeper, rolling bump of "The Hurt". The amazing Bembe Segue turns up on "Sunshine" with Dego and crew wisely taking a step back to let her take centre stage.

Review: Last seen on the cultish Very Polish Cut-Outs label, Bergen based producer Telephones debuts on another cultish imprint in the shape of Sex Tags UFO pairing up with DJ Fett Burger. Towing the line wonderfully between mutant disco and dilapidated house, the Rytmenarkotisk EP features one solo production from both producers either side of a collaborative cut. For the title track, Telephones is on wonderful form, laying down all manner of insouciant and glistening melodic touches over a live disco house stomp that's a legion away from preset driven productions. On "Tutti Frutti Del Mar" Telephones and Fett Burger combine for the kind of scandolearic production that would have Toddney Terje whilst Fett Burger's "Burger Trip" has that touch of the esoteric that has helped establish Sex Tags reputation for the weird and wonderful.

Review: When it comes to edits, Al Kent is definitely up there with the best. A selector in every sense of the word, he doesn't just highlight the best of the past, but also the best elements of those originals. Here we find him revisiting Stanton Davis's 1977 jazz funk fusion album Bright Days. Taking the first and last tracks from the set, both cuts have been reshaped to fit today's dancefloors. "Things Can Not Stop Forever" is more loop-based with an added pounding stomp. The percussion from the original's intro has been applied over the guitar lick to give the edit a real insistency and groove. "High Jazz" has undergone a similar facelift. The original's far-out intentions and unpredictability are still found in the edit, but Al's managed to tether it together by way of a solid 4/4 and more emphasis on the keys than the original's emphatic vocals.

Review: Super-limited and super cosmic, the Keyboard Masher family reunite for three more galaxy galvantations. "El Halcon Rising" creeps and weeps with Moogy moans, spiralling pads and emphatic choral beef. "Eastern Promise" rolls with more of a wistful swing thanks to snaky hi-hats and a cool filtered guitar loop. Dreamy and deep, drop it at the right time and there won't be a dry eye in sight. Finally we hit "La Luz", all shimmering guitars and soft, subtle kickdrum back bone, it's an instant Balearic gem. Beautiful.

Review: Space Dimension Controller returns to Clone's Royal Oak series in style with the first of five Correlation releases! It was back in 2010 that the then-emerging Space Dimension Controller first landed on Clone's Royal Oak imprint with Journey To The Core Of The Unknown Sphere; since that landmark release the Belfast born producer's career has taken off with successive EPs on R&S which ultimately led to this year's concept-heavy debut album Welcome To Mikrosector-50. Correlation#1 retains the intergalactic motifs that have become a Space Dimension Controller trademark, however the five tracks here find Hamill focusing on a straighter dancefloor approach akin to his earliest releases. His one concession to conceptual themes manifests itself visually with Hamill producing a series of prints relating to the mood and colour of each track. One print has been randomly inserted into each of the records included in this first pressing.

Review: Taken from his album July 12 1979, both "Go Bananas" and "CVO Soul" have been given authentic reboots to maximise their dancefloor impact. The former has enjoyed a simple extension, allowing the disco strings to sparkle, the pumping two-note bassline to pack a punch and the sharp horn blasts to really come to the fore. The latter undergoes a full reversion by Sonar Kollektiv's ISoul8 who's added jazzy drums and awe-inspiring key work that's delivered over intergalactic chords. Going bananas? It's a no brainer.

Review: Having signalled the end of their Originals series in fine fettle with a wonderful selection from the New York based producer and selector Alex from Tokyo, Claremont 56 send out the end product of what must be one of the most onerous tasks in recent years. This rather dashing 5xLP box set house two tracks a side from each of the ten Originals compilations issued since the series commenced back in 2008. Aside from the sticky issues of actually legally licensing these tracks for a vinyl release, there's also the factor of having to whittle out just two songs from each of the compilations. Regardless, Paul Mudd Murphy has done a splendid job with inclusions such as Donna McGhee's superb disco cut from the Rong Music volume or the undervalued Anthony Watson gem from the final installment getting the approval of the Juno review team.

Review: A Berlin/Melbourne soundclash of delightfully juicy proportions, Graef and Hart have concocted three ace compositions right here. Filtered to the max with big jack swings, each one of these will find favour on late night floors. "Biting" is the slinkiest, sleaziest of the three. Complemented by the quintessential deep house wailing vocal and a raising chord structure on the fill, it's an instant elevator. "Heavy Setters" comes complete with an array of disco bubbles and an added thump on the rhythm while "Pass The Mortek" rides atop of a slinky percussive arrangement. Great for nu-disco and deep house heads alike.

Review: Excellent and much needed 12" pressing of Low Altitude from Australian boogie don Mike Kay! Originally surfacing on a limited 7" release through Melbourne imprint This Thing, it's given a wider release thanks to the dons at People's Potential Unlimited with the addition of a further cut from Kay. A Side track "Low Altitude" is a lot more DJ friendly now (ever tried beatmatching 45s?) and has been extended with more handclaps and disco noises from the funkateer Kay himself! If you're a rabid consumer of Tom Noble and Inskwel stuff or digged the Moon B issue on PPU earlier this year then you'll love this 808 boogie bumper. Face down, "Rumble Strip" eases up the tempo a nudge for some slick and sweet analogue disco and the wonderfully smudgy bonus cut "Kyoto Haze" really shows off Kay's melodic chops.

Review: Pitting previously overlooked jams against the artists that first supported them in the dance is an inspired move, and so its no surprise that the Hell Yeah posse struck gold with these two remix commissions. Justin Vandervolgen has a whale of a time playing with Alexander Robotnick's "Undicidisco" track, maximizing on the warm and quirky melodic attributes of the Italian stallion and pushing the cut into ever more effervescent territory. Doc Martin meanwhile brings a sweaty clamour to Florian Meindl's "Flashmob" which results in delirious basslines, feverish vocal processing and some nasty synth rubs all placed with deadly accuracy to set the place on fire.

Review: Very, very strong dramatic italo/disco/soundtrack-like double 12". Reminds me of "Tenebre" by Claudio Simonetti and John Carpenters "Escape From New York". Must have for the "The Hague Sound" lovers. One of the best releases from Legowelt ever!

Review: This is the third EP (in almost as many years) that sees the Japanese abstract techno duo Cos/Mes revisit their 2007 album Sadistic Skatepark: reversions come from Discodromo (deep chugging Terje style cosmodrama) and Soft Rocks (lullaby-like arpeggios set to a bed of whimsical synth pitch bends and FX) Complementing these is the appearance of Cos/Mes classic "Build The Band" which originally featured as a B Side on a limited 7" released by the High Feelings label. If the slinky slap bass twang-out with added hip-swings and wig-outs sounds familiar it's because the track was a highlight of the classic Live At Robert Johnson mix by Prins Thomas.

Review: Two slabs of heavy discotheque material from the Modern Artifacts crew, taking in specially tweaked disco dad favourites from Average White Band and Ben E. King double header. Lining the A Side is the cover version of Ned Donehy's "Get It Up For Love" which has end of night shoulder rubber written all over it. Turn the table and it's the timeless "Star Of The Ghetto" that gets the Heavy Disco treatment, offering some hands in the air contrast to the widely lauded deeper edit of the same track from Stupid Human.

Review: Long regarded as an esteemed crate digger and DJ, Kon's transformation into a fully fledged producer is complete with this very summer appropriate LP for BBE. It's been some time coming too, with Kon slowly revealing his production chops across a series of under the counter edits, remixes and a full EP for Soul Clap's label earlier this year. The eleven track On My Way unfurls with the kind of bump and groove we've come to expect from a Kon DJ set and also reveals him to be a somewhat talented song writer, teaming up with veteran house crooner George Levin, Ben Westbeech and Amy Douglas on several tracks ("Blow Me... A Kiss" with the latter is proper Disclosure territory) Matching bumping mid tempo cuts with some sultry jams (808 State) and outright disco burners ("Love Shine") makes On My Way a very impressive debut and perfect for the BBE label.

Review: Just in case their album Pulsar wasn't quite enough to tickle your Balearic underbelly this summer, Italian duo Leo Ceccanti and Gianluca Salvadori have stepped up to the Above Machine controls for a sedate slab of glistening guitar-strummery. Wonderfully woozy and calming, it's the duo at their most laidback and confident. Remix-wise Bird Scarer-endorsed Craig Bratley gets all slinky and acidic while Andrew Clarke applies the dreamy space guitars. One time? Three times, more like... Each one of these versions rocks in their own unique way.

Review: Nick Millhiser and Alex Frankel go from strength to strength, cruising their 18-wheeler disco wagon into the future without so much as a nudge on the brake pedal. "Dumb Disco Ideas" hits you straight in the face like a WhoMadeWho record produced by Tom Moulton. Hooky, pumping and precision produced, it's got 'sound of the summer' stamped all over it. It also comes complete with an insane video if you've got time for some visual titillation. There's nothing dumb about this at all.

Review: Black Rox is back with 2 more sneaky Soft Rocks specials that have somehow been liberated from locked CD wallets and released into the wild for general consumption. Lead track "Music sounds better with 'fro" is a Stardust aping afro groove exploding into ecstatic, almost house, pianos. This one has been thoroughly road tested by dem Idjut Boys and Soft Rocks themselves... dancefloor detonation guaranteed. On the flip we get more righteous with "Brothers (& Sisters) On The Slide". Funky rollin' drums and a spoken word intro leading into a glorious anthemic song about struggling against the man.

Review: The identity of the mysterious Volcano Brothers remains unknown, but as long as they're serving up unique Afro funk edits like this, we're not going to complain. The title track is soaked in a sun-tinged highlife sound as we sass and sway from a light guitar-twanging intro to a more full bodied harmonic chorus into a beautiful analogue disco riff. "Obey A Man" is an instantly enduring Afro blues edit that follows a similar chord structure to Stevie Wonder's "Living For The City". Unique. Let's hope this volcano keeps erupting edits like these.

Review: Graeme Clark returns to his Revenge persona, bringing a brand new imprint with him in the process. Looking back to his time with the Deportivo Street Team, there's a clear 'jamming' vibe present throughout this four tracker. Eschewing his disco tendencies, each of these four cuts are much more driving, deeper and, in the case of "MW1", downright techno-ish. Other highlights include the rich analogue synth hook on "Wreck My Love" and the dubbed out, heads-down Glasgow Underground style groove on "Lost Property".