Back catalogue: All genres

Review: Belgian DJ duo 2ManyDJs make their music under the Soulwax alias. Whenever they do, it is arresting, seriously quality stuff. For this one the multi-genre mash up artists look to remix 'Cliche' by Charlotte Adigery and Bolis Pupul for the French label Because Music. Their first version is a typically textured, raw, ravey indie-techno workout with rugged beats and sleazy vocals lit up by bright strobes. After the instrumental comes 'Ceci N'Est Pas Un Cliche' which is a macho disco stomper with sliding hi hats and low-slung bass.

Review: Hot on the heels of the release of their brilliant debut album, Basar, Africaine 808 drop a fresh single. Intriguingly, "Everybody Wants To" is something of a departure from the polyrhythmic, global fusion style explored on Basar. Instead, it sees the Berlin-based duo explore the world of synthesizer-heavy space-funk. Of course, there's still plenty of Latin and African influences amongst the loose and organic percussion, but these seem to play second fiddle to the vocoder vocals, bustling bassline and intergalactic synthesizers that dominate. Of the two versions, it's the flipside 12" Disco Dance Mix that really hits the spot, with DJ Nomad and Dirk Leyers extending the groove and emphasizing the superb bassline for greater dancefloor enjoyment.

Review: Frank Music look to main man Johannes Albert for the second volume of their Rarities series and he covers plenty of musical ground in the process. First up, Benjamin Frohlich's 'Tivoli' gets a super upbeat and summery 4/4 disco re-treatment to kick things off, before Albert steps up again to tackle Kayroy's 'Identification Unknown' with future-facing disco synths. The version of 'Fomo' he serves up is more dirty and danceable, with acid lines and twinkling arps. Last of all, Albert's remix of Leon Revol - 'Acid Is Rolling' is an undulating cut with muscular beats and crispy snares.

Review: Yam Who?'s ISM label come through with a four track slice of disco centric Futurism, featuring the man Yam himself alongside PBR Streetgang and Ron Basejam. It's the latter who takes the lead with a remix of Alena's "Changes" that sees her sultry vocal teased by a most excellent of analogue synth leads that splurges brilliantly across the crisp mid tempo chug. Yam Who? teams up with vocalist Natasha Watts for the similarly bottom heavy bump of "I'm In Love" which has a certain warehouse appeal to it. On the flip, PBR pay respect to the godfather of soul James Brown with the gritty flex of "J2thaB" with the sadly departed Mr Brown strangely sounding at times like he wants to go to Tesco. We always took him for a Waitrose man, but regardless this is probably the track you'll reach for most! Finally Brothers Young do their thing to a Trammps classic, with little more than the bassline retained. Big tip!

Review: 'Ubiquity' really is an all-star affair, at least by nu-disco standards. It started out as a revivalist, boogie-era disco groove crafted by Nicky Night Time, which was then tweaked and turned into a vocal number, before Breakbot added some killer string and horn arrangements. The results are spellbinding, all told, coming on like a future disco classic full of addictive vocals, colourful synths and authentic turn-of-the-80s instrumentation. The superb original mix comes with a trio of re-rubs: a loopy disco-house revision from The Magician, a more cosmic and spaced-out revision from Eric Duncan that recalls some of his work as Still Going, and a Metro Area-influenced re-wire courtesy of Lubelski.

Review: Love Touch Records has a devilishly simple game plan: to release brand-new revivalist boogie, electrofunk and synth-powered soul songs on seven-inch singles. Here, the label's very first release from late 2019- which, incredibly, sold out simply through social media hype - finally gets a wider release. It's well worth checking, because it's a terrific slab of smooth, spacey, talk box-sporting slab of synth-soul from vocalist Amalia, label regulars The Precious Lo's and modern boogie wizard Brian Ellis, who provides a killer synth solo rich in wavy, LFO-trigger action. Over on the flip T-Groove provides a "Smooth Mix" - a more thickset take built around warm chords and one of the most squelchy synthesizer basslines we've ever hard.

Review: DJ Kawasaki fires up his tools and gets to work on a couple of tasty new edits here. The first is a slow disco mix of The Ananda Project's 'Cascades Of Colour' which is lush, low riding and built on loopy drums with silky synths that are finished with some sprinkles of cosmic melody up top. Sublime. Blaze's 'We Are One' then gets a special Fusion Funk Re-Groove mix which has more astral synth work ringing out from a tight and funk arrangement with lush bass lines and nice organic drums.

Review: A third release on the Serious Trouble label sees Benedikt Frey return to the fold and share sides with Aufgang B, a new project from Berlin-based producers Alexander Arpeggio (spAceLex) and Cid Hohner. It's the latter who take the lead, laying down a rugged midtempo cut of faltering machine funk which wouldn't sound out of place in a set from Lena Willikens. With a full debut pencilled in on Vienna label NeuBau, expect to hear more from Aufgang B over the coming months. Previous contributions to Serious Trouble from Frey have shown the German has a clear sense of humour and that's evident on "Drop The Funk" which comes across as a weed addled homage to Zapp.

Review: Whilst the record label branch has only been going since 2010, the Bedmo Disco duo of Sell By Dave and Five Stylez have been filling the clubs of Bedminster and beyond its West Country surrounds with their own distinct brand of boogie heavy disco since 2007. This sixth release is aimed at celebrating five years of Bedmo Disco, with the label heads joined by studio sparrers AWON for four tracks of searing boogie brilliance and the first original material to surface from Bedmo since the label launched. Deftly combining the funk heavy sounds of 1980s NYC boogie with more contemporary production touches that are comparable with anything Dimitri From Paris or Tiger & Woods have been releasing of late.

Review: More hot re-edits from funk master Blackbeard!! First up is the superb Roy Ayers jam 'Good, Good Music', recut as a heavy disco funk groove with a Clavinet and guitar-driven push and head-snapping beats. On the B-side you've got Barry White with a classic end of the night party vibe, 'Any Fool Could See'. Great brass section and damn funky guitar!

Review: The Super Disco Edits stable returns to action with a new set of edits, two disco-leaning versions of B & The Family's disco classics. The first is the instantly recognisable "A Good Time", a disco bomb like no other and exactly the sort of tune that makes people think of the word 'party'. On the flip, "You're Gonna Love Me" is more of a boogie monster reinterpreted and juiced up with some extra electro power in its low-end and, of course, its chunky beats and percussion to create that added dance floor effect. Tha bomb!

Review: Although operative in the early 1980s, the quality of B & The Family's boogie-era soul recordings only became evident five years ago when the Super Disco Edits label unearthed and issued a couple of their previously unreleased recordings. These two never-before-released jams come from the same period. A-side 'Count on Me' is simply superb: a squelchy and soulful electrofunk number of the kind that were frequently released in the early '80s by the Solar System and Salsoul labels. Flipside 'Magic' is a little fuzzier and hazier - in part because it was probably transferred from a partially damaged tape - but no less impressive, delivering an attractive blend of dewy-eyed male lead vocals, elastic slap bass, colourful synthesizer sounds and dreamy chords.

Review:  Inaugurating the Earnest Endeavours imprint, B. Bravo cruises into earshot with some smooth sunkissed jams indebted to the legacy of great electro funk. "Kiss 'n' Tell" keeps the crafty edits coming but still manages to keep the groove steady, while the vocals politely embellish rather than dominating the beats. "Right On Time" is on a more restrained hip-hop groove but no less funky for it. "Substance" edges towards a purple dubstep flavour at times whilst retaining high levels of funk.

Review: Adam Mori aka B.Bravo is back like a thick gush of smoke filling up the dance floor, and the Brownswood-Bleep associate is in no mood to wait till the warm up set is done. These two new smokers for the Bastard Jazz imprint are pure class, every bit as sexy and seductive as we've come to expect from the producer, starting with the sultry claps and bass of the excellent "Im For Real", a sun-scorched killer of a tune, fit for riding shotgun and turing the rooftop down. On the flipside, Mr Carmack detunes "Stay The Night" down to a funky, mid-tempo level, and it's just about the grooviest of boogie tracks that we've heard in a while. Think Daft Punk meets Willie Hutch. Wonderful.

Review: B Edits is a new imprint dedicated to updating, reworking, and fleshing out classic disco jams that lack that little something when it comes to being deployed on modern dancefloors. It kicks off with an in-house producer or production outfit offer up two such tunes on a limited 12". 'Give It' is a super sumptuous deep house sound for late night lovers with the voice of the one and only Sade singing about surrendering your love. It's irresistibly steamy and sax-laced. On the flip, 'Hold It' is a little more upright but with a disco vocal that is just as buttery smooth.

Review: Best Records do it again, dusting down a searing slice of robo-funk from the early 80s that will pop your lock every which way. B Funk was a one-off project from Mario Boncaldo and Tony Carrasco, best known for their incredible work as Klein & MBO. They released the "Magic Spell" album in 1983, and it was loaded with richly produced Italo disco and proto house sounds - there's a good reason the original release has been fetching such crazy prices on the second hand market. Now Best have cherry picked two of the finest cuts from the album, sought out the extended disco versions from Carrasco's vaults, and given them a glorious new pressing.

Review: B+'s B-Beat Classic is originally from 1983. It is an early hip-hop and electronic fusion with some great talk-box vocals and a loose-limbed mix of percussion and drums. It moves slowly and purposefully, with scratches over the top and unhinged funk soon permeating your body. Leftover tape was used to create the effects and original copies have a note that the tune was dedicated to a first generation Boston disco DJ named Jim Stuard whose career was cut short by the Everard Baths fire in New York City in 1977.

Review: Midnight Riot let rip with another silky disco session and all is well with the world; BG Baarregaard gets sugar-sweet with a mildly-pumped twist on "Luv's Treating" while Dead Rose Music Company get super-loopy 80s Child's "Cocktails For 2". Dig deeper for a consummate edit of Donna Summer with "Do U Wanna Get Down" and Richard Seabourne closes the show with a jazzy house number that's soft-focus soul and soaking wet in the bass department. Get to know.

Review: Swiftly becoming one of Whiskey Disco's most consistent contributors, Icelander-in-Oslo BG Baarregaard gets busy with three slick, slim-line electro boogie jams suitable for any discerning dancefloor. From the moment those crisp guitar plucks shimmer and ripple across "Disco Inn" you know you're in for a treat. "Undercover Lover" digs deeper with an electro boogie groove while "Kaffibarinn" steps up with an Italo dynamic that's just as future-focused as it is heritage rooted. Each one laced in BG's now trademark P-funk bass, there's more than enough room in Baarregaard's inn to accommodate us all winter.

Review: Heavyweight sunnyside nostalgia from Whiskey Disco faces old and new. Icelandic BG does what he does best and work a sample until it's looped so well you could listen to it for days on end. The highlight of his couplet being the sweet subtly filtered take on Passion's "Don't Stop My Love" on "Astarjatning". Closed Paradise takes us much deeper into the night with the sexier, groove-focused "Breakin' Down" while "Wolf Sisters" closes the show on a reflective, slo-mo minor key note. All sides of disco - old and new - covered right here. Beautiful.

Review: Original pressings have been previously spotted passing hands for well over L1000: Big Apple Band's 1976 deep funk classic has been rarer than hen's teeth for most of its 41 year life. Its sought-after status accelerated by Keb Darge for last 15 or so years - that and the fact it's an out-and-out soul-stirring, honey-vocalled, low and slow funk burner - AOTN have finally unleashed it in it full length for all of us. And we should all be eternally grateful.

Review: Phantasy unveil the second round of strange but wonderful electronica from Brazilian newcomer Babe, Terror - this time on fancy purple streaked white marble vinyl. And it's a welcome return for Duke Dumont as well, with the far from prolific producer demonstrating a new found appreciation of creeped out techno paranoia on his remix of "Epicentro". The Duke has always demonstrated a penchant for composition that sits far beyond his contemporaries and the gargling acid drop that grows to end this remix proves to be captivating. Memory Tapes also contributes a remix, transforming the vocal oddity of "Havai" into a track that starts off sounding like Pantha Du Prince before growing into a multi faceted slice of modern electro energy.

Review: Check out "Primetime", the debut record from new Environ act Baby Oliver. Hot and twisted tracks for disco jackers and neurotic nu-romantics. You don't want to miss it.

Review: In an interesting meeting of minds, the burgeoning The Backwoods moniker from DJ Kent sees two relatively fresh talents getting put on remix detail with two very different results. The Stallions comes from the wider remit of Rvng Intl. and the like, and drop a smacked-out version of "Cloud Nine" that pumps away on a solid kick pattern but floats up in a cloud of arpeggios like the earliest strains of trance. On the flip it's left to Japanese duo Cos/Mes to reach for a more lilting, pastoral version of "Awakening" that bubbles with organic percussion and a psychedelic hop to the rhythm.

Review: Released back in 2010 the Backwoods LP was a long term fixture in the sets of Tim Sweeney Rub N Tug et al, yet never really got the wider appreciation it deserved, despite the project being overseen by Japanese DJ supreme Kento Sasaki aka DJ Kent aka Force Of Nature. One of the album's many highlights "Breakthrough" gets a much warranted new 12" issue courtesy of the ever dependable Jolly Jams outlet and comes with the added bonus of a remix from label boss DJ Kaos. Live drumming, twinkling instrumentation and a true mastery of the groove are what sets this track apart from the pretenders, whilst the Kaos effort successfully implements a housier feel without sacrificing the heart stopping brilliance of Sasaki's original.

Review: Live favourite "Promises" is the third single to be taken from Badly Drawn Boy's "Born In The UK" album. The 7" is backed by a live cover of Journey's "Don't Stop Believing" while the 12" includes remixes by Reverso68, Beyond The Wizard's Sleeve and A Mountain Of One.

Review: Live favourite "Promises" is the third single to be taken from Badly Drawn Boy's "Born In The UK" album. The 7" is backed by a live cover of Journey's "Don't Stop Believing" while the 12" includes remixes by Reverso68, Beyond The Wizard's Sleeve and A Mountain Of One.

Review: Huge fifth release for Flashback as Toby Tobias and Dave Garnish team up as Badonday and drop a disco house WMD of mammoth proportions - head to the fuzzy dub on the flip for heavily filtered disco vibes. Lovely heavyweight vinyl too!

Review: Italian artist Ricardo Baez brings his EBM influences to a new and dazzling post-disco EP on Bordello A Parigi that mixes up elector, new wave, synth pop and Italo. First up is dark disco dons Curses to remix 'On & On' and do so with rugged synth lines and jacked-up angular drums. The original is only subtly different and a touch smoother then 'Sfida Notturna' takes off on big stomping drums with bright synths and retro-future 80s feels ringing out proudly. 'Dietro L'Orizzonte' closes down with a more Balearic sound for the afters.

Review: Acting like the latter excesses of post Justice electro house never happened; former Bang Gang acolytes Bag Raiders used their recent eponymous debut album for Modular to present a Vitamin D infused take on synth heavy electro pop dosed up on disco bliss. "Sunlight" is the second single to be culled from that set with the joyful vocal turn from Dan Black matched by the euphoric thrust of the Bag Raiders musical backing. The accompanying remix from house music heavyweight Armand Van Helden is surprisingly faithful to the source, adding some bump to the beat and embellishing that distinct burning lead melody with a few degrees more heat. This release should really be praised however for enticing the criminally unprolific Tiedye into the studio for a remix which realigns the track to a whole new approach - filled with all manner of new instrumentation which only serves as further notice of the duo's obvious talent.

Review: ***B-STOCK: Record has very light surface marks/scratches, but otherwise in perfect working condition***


Ombra International is a Berlin based label and collective featuring artists from around the globe, sharing a mutual love for post-punk, new wave and other weird guitar and synth sounds. What's more, they're united by lust and fury and alone.. together! Commencing with the hazy and slow-burning cosmo-psychedelia of Bordeaux based enfant terribles Bagarre Perdue with "Cowboy", Sutja Gutierrez' "Great Chain Of Being" will take you deep into the exotic with its enchanting west Asian musical aesthetics. On the flip, more cosmic rock for fans of legends like Can courtesy of Frenchman Mondowski while Russian act Seven Knives channel the early '80s vibes of Neue Deutsche Welle on "Wires Go Golden".

Review: Ombra International is a Berlin based label and collective featuring artists from around the globe, sharing a mutual love for post-punk, new wave and other weird guitar and synth sounds. What's more, they're united by lust and fury and alone.. together! Commencing with the hazy and slow-burning cosmo-psychedelia of Bordeaux based enfant terribles Bagarre Perdue with "Cowboy", Sutja Gutierrez' "Great Chain Of Being" will take you deep into the exotic with its enchanting west Asian musical aesthetics. On the flip, more cosmic rock for fans of legends like Can courtesy of Frenchman Mondowski while Russian act Seven Knives channel the early '80s vibes of Neue Deutsche Welle on "Wires Go Golden".

Review: 'Fragments From A Space Cadet (Remixes 3)', features remixes of Kenneth Bager's 'Fragment 2-The First Picture'. Jesse Rose drops a smooth vocal house
remix (plus Instrumental). Also Idjut Boys drop an eclectic EBM inspired remix and DJ Volume delivers another house remix.

Review: One of Denmark's key figures in electronic music and club culture since the 80s, Bager's been whittling the cosmic stick before many of us were out of short trousers. His collections and connections allow him to create and curate some seriously distinctive and unique mixes and collections. Case in point: his recent Sunset Sessions mix. Far too good to just live online, he's created a series of highly limited 12"s featuring numerous mix highlights. Part one includes the Mr Fingers style soul of Bell Tower's Pet Shop Boys tribute, the Gainsbourg-esque whispers of Mathieu Boogaerts and the deep dream samba of Bongo Ent. If you've heard the mix, you'll already know how beautiful these tracks are. Grab them while they're hot.

Review: The lesser spotted Leggins returns with another pair of edit gems. Afro-focussed "Expensive Sheeeeet" comes with more switches than a cockpit as we flick between lolloping bass groove, deep tenor soul, rifle percussion and serious sprinkles of sunset magic. "Lando Disco" ventures west towards Brazil with rich orchestration, wondrous sweeping strings and a perfectly lamenting vocal. Sonic honey.

Review: Mystery surrounds the story behind this edit-style two-tracker - and, indeed, the identity of Baggy Leggins and Duke Hobo themselves - but there's much to admire about it. Check first A-side 'Keep Marching', where a lightly beefed up and housed-up semi-acoustic groove offers a platform for sweet, bilingual female lead vocals, jaunty guitars and simmering strings. It's a genuine dancefloor revision, but one that will suit Balearic DJs and confirmed party starters as much as dusty-fingered crate diggers and selector sorts. 'Shuffleupagus', meanwhile, sees the mystery artist cut up and tool up a vaguely familiar Latin workout with predictably energetic and party-starting results.

Review: Kris Baha had a big year in 2019 with the release of his debut album on CockTail d'Amore and an EP on Pinkman, and now the Australian body music man in Berlin is back with a high-pressure heater for [Emotional] Especial. "Barely Alive" is the kind of sinewy proto-industrial cut that will appeal to fans of Ministry's earlier work, when the synths reigned supreme and there was pop to match the noir. Especial then call on a cast of remixers to interpret the track in different ways, from Timothy J Fairplay amping up the dystopian disco tropes to Das Ding creating a sleek electro-funk twist with the original's gothic undertones intact.

Review: After his Kinfolk released collab with Otologic's Nick Murrary, Kris Baha makes a welcome return to his Power Station creation. A versatile five track EP that will get you through the night, one pictures Yello's virgin ketamine experiments on 'Mind Your Head' before 'Jeff' comes to the party with his mad professor dub, giving you whiplash with its belting beats and crashing guitar stabs. Originally designed as an hour long opening score for the namesake Melbourne club night, 'Around You Go' is an edited warm up tool, the crossroad between Dusseldorf and Elettronica Meccanica. If issued in 1983, '2 Nights in Armenia' would have lived on as a Cosmic classic while 'ArpB' is the listeners' exit music, a fork hanging from the power socket.

Review: REPRESS ALERT: Bahnsteig 23 return 2016 takeover mit Kris "Boy" Baha ! Baha Boy nehmen Ozzie Ozzie Ozzie (Oi Oi Oi) neu welle vi 909 wig perucke. Beat Move Tanz. Powerstation Melbourne partei and label und Powerform edit rock welt ! Crystal Ballroom lights keller. Sameheads basement schweiss walls und ceiling. Hymne mit Mornington Coroboree. Hoher Hoher Hoher. Nowave finale whistle trommel horn nache ende. Can you tanz?Panzer Peoples Down Under Vereinen !!!

Review: It's been a while since we last heard from genre-straddling DJ/producer Sadhar Bahar, who first rose to prominence via two volumes of the Chicken Wing Edits series back in the late 2000s. Here he dishes up two more sneaky reworks, this time for Bochum-based Kala Kuta Soul. You're unlikely to find a more gorgeously sunny, summery rework than the bouncy jazz-funk-meets-disco soul flex of A-side "Tik-Tok". It's loose and groovy, of course, but just loopy and bouncy enough to interest house heads as well as disco-soul diggers. Flip for "At The Concert", a deliciously stretched-out chunk of instrumental soul-jazz business that comes complete with some seriously heavy trumpet solos.

Review: Some high-grade re-edit action here, as dusty-fingered Chicagoan crate diggers Sadar Bahar and Marc Davis join forces with pal (and credited mixer) Rahaan on two fine tweaks of suitably obscure tracks. A-side 'Disco' is a groovy, funky, horn-heavy affair; a sumptuously string-laden, orchestrated blend of righteous gospel-soul, Philadelphia International style proto-disco and grooves reminiscent of those frequently employed on Steely Dan's most up-beat moments. 'Beat Down' meanwhile is a jaunty, percussive and sun-soaked slab of dancefloor-ready Latin jazz that speeds up as it goes along. The jazz dancers will love it!

Review: If you go to the sort of quality dances where you might hear old sound disco then there is a good chance you will have lost your shit to this one at some point the past. It is a disco gospel 12" curated and edited by Chicago pair Sadar Bahar and Marc Davis. First, they up the energy levels on the joyous Fountain Of Life Joy Choir Under The Direction Of Kevin Yancy tune 'I'm So Happy' which is high speed, high spirit and life-affirming goodness. Then they tweak Rev Charles H Nicks Presents The Baptist Assembly Of Free Spirit Mass Choir's 'Optical Illusion' with swirling big band energy and magnificent organ chords.

Review: Bakazou (aka Pete Herbert) delivers "Yellow Fever", a spot on Italo-disco track. Also featured is a Reverso 68 remix. Limited to 500 copies only!

Review: We're happy to introduce Interzone Thrills, a new mysterious hi-gloss imprint straight outta Canada, with a band of renowned producers from the UK, USA, Europe & Canada - seriously tweaking, editing and re-mastering classics or a few lost archives of the dance-not-dance world. Made with love within the Interzone shores.

Review: 3 special hard to find re-edited super nuggets, from some well known disc functional producers, who wish to remain anonymous, specially selected for dancefloors with squares that light up and have mirror balls circling above.

Review: Recently, legendary American dance producer Arthur Baker discovered two tracks in his storage on 1/4" tape recorded in 1979. He asked Hifi Sean (aka Sean Dickson of The Soup Dragons) to rework them - who brought on board Riot Recordings boss Yam Who? and they quickly got to work resurrecting these soulful disco anthems. On the A side, we have the souled-up disco power of "Reachin'" featuring Minnie Gardner's powerful vocals, then get prepared to get down proper to the group vocals and epic brass section in the uplifting "Good Good Lovin'" (Hifi Sean & Yam Who? edit) all accompanied by Baker's immaculate production style.

Review: Kalita Records are proud and honoured to announce the first ever official reissue of the four choice tracks from Randolph Baker's privately pressed sought-after 1982 disco album 'Reaching For The Stars', plus an unreleased instrumental take of 'Party Life' sourced from the original 24-track analogue master tapes.

Originally recorded at Jim Morris and Rick Miller's Tampa-based Morrisound Studios, 'Getting Next To You' features both a mixture of both local Florida talent plus jazz superstar Nat Adderley and bassist John Lamb at their finest. Originally pressed in a limited run of just one-thousand copies, with no distribution and most copies being sold in the local city and on Randolph's own merchandise table at the back of live gigs, original copies have long been sought-after by both collectors and DJs alike, acknowledged as a true grail and masterpiece in the disco scene and deservedly demanding extortionate figures to those lucky enough to find their own.

Here, in collaboration with Randolph, Kalita Records have chosen to re-release the four choice tracks from the album: 'Getting Next To You', 'Jazzman', 'Callin' Me' and 'Party Life'. The former is an in-demand horn and chant-filled disco masterpiece, which, as Randolph explains, concerns unity and "everyone on the same level in other words, everyone just loving life". It is arguably the song that Randolph is most well-known for in the disco and funk scene and perfect for the modern discerning dance floor. 'Jazzman' is an instrumental track with prominent trumpet and saxophone solos working with funky basslines to produce a truly great jazz-funk groove. It was "a tribute to Nat Adderley and Duke Ellington's bass player, John Lamb, for being so generous and saying yes to the project". 'Callin' Me' is a soulful disco number featuring the lead vocals of Laurie Erickson and is "about being on the road and ensuring loved ones that you will always come back home no matter what. It was like a promise to ensure loved ones they didn't have to worry". Lastly, 'Party Life' is a joyous disco track with a strong funk bassline and horns. As Randolph recalls, it "was the joy like after an actor finishes a movie. There was nothing but joy. It's finished; let's celebrate big time. Where everyone in the studio yelled at the top of their lungs - The End!" Here, with access to the 24-track master tapes we have been able to include the original version plus an unreleased instrumental take, allowing us to focus on the infectious bassline and make it even more ready for the modern dance floor.

Accompanied by extensive interview-based liner notes and never-before-seen photos.

Review: Balint Forgacs continues to thrust his new BAL5000 rocket to untold cosmoses, this time with perennial vinyl deepsmiths Invisible Inc. Ploughing a deep, smouldering Italo harvest, the aesthetics are restrained, loaded and sprung with sci-fi soul. Each track tells its own unique story: "Funky Psychosis" is a subtle take-off as the claps move around the hazy atmospheric pads, "Bleu Infini" is a dramatic deep space trip in slo-mo while "Il Viaggio Di G Mastorna" is a foggy moonlit mission chased by chilling shadows. Finally "Jaanipaev Cruisin'" plays the role of a smooth and hopeful trip back to earth where the squelchy acid turbulence is more than welcome.

Review: This officially licensed 12" sees prolific British disco producer Ben Gomori take a scalpel to two cuts from veteran African musician Amadou Balake's 2015 album, In Conclusion. On side A you'll find a fantastic, eight-minute extension of the breezy shuffler "Bar Konon Mousso (Musicien C'est Pas Quelqu'un)", where snaking saxophone solos and sun-kissed, juju style guitars rise above a hot-stepping, bass-heavy groove. Turn to the flipside for a thrillingly epic take on "Massa Kamba", a deeper and slightly more musically intricate cut blessed with a blissful; Pat Metheny style jazz guitar breakdown, memorable chorus vocals and evocative horn lines.

Review: Earlier in the year, Rio de Janeiro-based duo Balako made their debut on Barefoot Beats, sharing the billing with Eddie C on a tasty 10-inch single. The chaps at Razor-N-Tape were clearly impressed, because they've given the Brazilian twosome a 12" on which to showcase their edits. The hit the ground running with breezy opener "Batuque", which sees them add heavy, elongated analogue bass notes and delay-laden drum machine percussion to a suitably summery and glassy-eyed chunk of mid-tempo Batacuda positivity. Elsewhere, "Deixa Acontecer" turns a sweet salsa offering into a throbbing, Italo-influenced delight, while "Honey, Honey, Honey" sees them make merry with a wonderfully low-slung Brazilian disco epic rich in stripped-back bass guitar, druggy synthesizer arpeggio lines and sparkling electronic melodies.