Review: Bongo Joe and Sofa Records' third instalment of the Maghreb K7 Club Disco Single series dives deep into Algeria's vibrant 1980s scene, offering four tracks that shine a light on the region's overlooked gems. The A-side is led by two irresistible pop-boogie-funk tracks from Khaled Barkat: 'Galouli Enshara' and 'Zourini'. Self-taught and self-produced in 1983, Barkat's music was a hit at the time but got overshadowed by the rising tide of rai. His dynamic collaboration with Yazid Fentazi, Redouane Ayoub, and Mhenni Benlala resulted in a sound that blends infectious grooves with local flair. Now, for the first time, these tracks are on vinyl, offering fresh ears the chance to rediscover a key player in Algeria's pop history. Cheb Tati takes over on the B-side with 'Dub El Hammam', a heavyweight dub number that showcases his range as a rai vocalist. Tati was flown to London in 1989 to work with dub pioneer Denis Bovell, and this track is a standout from their sessions, merging the pulsating rhythms of reggae with a distinctly North African flavour. Closing out the release is the Kabyle band Asif, whose only known recording, 'Tafsut', serves as a fitting finale. Formed by three brothers in Lille during the late 70s, this beautifully crafted pop-boogie track captures the band's unique sound, bringing a sense of nostalgia and triumph to the collection.
Review: GC Cameron was born and raised in McCall Creek, Mississippi, and by the age of 22 he was already famous having joined Motown Records. He was signed up as lead singer of the legendary group The Spinners and had several web recover tunes and a few hits such as 'It's A Shame,' which was co-written and produced by Stevie Wonder. After that, Cameron left the group and went solo and teamed up with Harvey Faqua, Greg Crockett and Elgie Stover to record his best-ever work, which now makes its way onto this fine four-track EP courtesy of Soundway.
Review: A genuine one off, largely made using the then-new Yamaha DX-7 synth, Joe Car's sole single from 1984 has long been one of the rarest Italo-disco 12" singles around. This reissue has been a long time coming, with the revitalised Best Record finally securing the rights to re-release it earlier this year. It remains a fun and surprisingly on-point release. It appears in two takes, both of which we think were laid to tape at the time. On the A-side you'll find the 'Electro Potato Mix', where chiming lead lines, Fairlight style sampled stabs and male vocals rise above a chuggig, arpeggio style bassline and machine drums. Nestled on the flip is the original vocal version, which sounds like the sort of thing Chris Lowe from Pet Shop Boys may have been dancing to during the period - there are certainly a few cuts in the duo's earlt catalogue that utilise similar sounds and grooves.
Soleil Choco (Magic Jams extended club remix) (5:43)
Love Energy (Noema edit) (6:13)
Cha Cha (Magic Jams Rondo edit) (5:50)
Review: The Shaketown series returns with Caribbean Shaketown EP, an energetic blend of zouk classics, each track reimagined with a vibrant twist. Noema and Magic Jams guide this release, continuing the legacy of Noema's celebrated edit of Ata Kak's 'Daa Nyinaa'. The EP is a rhythmic journey across four tracks, each radiating warmth and life, making it a perfect addition to any Balearic-leaning set. 'Zisou (Magic Jams' Dub Edit)' kicks things off with smooth percussion and layered synths that simmer beneath the surface, giving just enough room for the bassline to shine. The magic continues with 'Soleil Choco (Magic Jams' Extended Club Remix)', blending deep grooves with expansive melodies to create a sun-drenched anthem, the type that transports you straight to the beach at twilight. On the flip, Noema's 'Love Energy' edit slows the pace slightly, balancing nostalgic vocals with dreamy pads, maintaining that irresistible pull towards the dancefloor. Closing things out is 'Cha Cha (Magic Jams' Rondo Edit)', a joyous, percussion-led workout that weaves playful rhythms with a Caribbean flair. Proceeds from this EP will support the Love and Hope Music School in Haiti, adding a heartwarming layer to this already exceptional release. Four tracks that deliver both musically and ethically, ensuring Caribbean Shaketown stands as a must-have for lovers of Balearic beats and zouk-inspired grooves.
Die Klapperschlange (Escape From New York) (vocal)
Die Klapperschlange (Escape From New York) (instrumental)
Die Klapperschlange (Escape From New York) (edit)
Die Klapperschlange (Escape From New York) (Nomoo remix)
Review: One of legendary filmmaker John Carpenter's few forays into electro-disco proper, 'Die Klapperschlange' is an instant throwback, the title theme from the 1981 sci-fi film Escape From New York. Everyone knows this melody, yet few could point to its origin, and that's likely due to the German release of the John Carpenter film being titled 'Die Klapperschlange' ('The Rattlesnake'). And yes, you heard us right: John Carpenter himself made this piece of music. A multi-talented man indeed, though he did work with fellow composer and sound designer Alan Howarth to add the finishing touches here. It's as if this track were made for the anarcho-discos of the future, its inherent darkness rendering it seemingly unassailable by the crumbling of society or public breakouts of violence depicted in the film. Plus, there's *that* unmistakable four-bar extension, in which a three-note hook has permanently wedged itself in our minds - wowee. And on this new release via ZYX, we've got two new alt-mixes and an outrun techno remix from Nomoo. Sweet!
Review: Italo-disco classic alert! Recorded and released in 1983, 'Cybernetic Love' was the first of a string of Italo-era club hits from the late Salvatore Cusano AKA Casco - an undeniably the most impactful and timeless. On the A-side you'll find the original mixes: a sweet vocal version featuring lyrics seemingly about falling in love with a robot, and an instrumental tale in which Cusano and his collaborators' dreamy chords, sparkling synthesizer melodies, funky electro bass and unfussy machine drums come to the fore. Over on the flip you'll find a new remix from Danilo Braca. He wisely retains the feel of the original, adding a few clonking electronic bleeps and a more chugging groove, whilst retaining the sparkling melodies and immersive chords.
Review: It's rare we hear reissues from those close to the original horses' mouths, but the work of G.U.S. Records is an exception. Run by vinyl and tape collector Gustavo C., the aim of the imprint is to re-release the soul, funk and early proto-electro of artists from Detroit whose music had only circulated in unreleased demo form. Mainly focusing on funk and boogie, '80s music abounds; notwitshstanding two former releases from rather unrecognised names, their third is a mega-rare single from Central Line. 'Love Will Find It' and 'Do You Remember' have never before seen the light of day, despite the four-piece band's long stint with the major label Mercury. The B-side is a favourite; a unusual slice of falsettoing boogie in triplet time.
Review: Cetu Javu's 'Dame Tu Mano' is something of a classic for lovers of early synth sounds and now it is back and reissued on grey marbled vinyl. Known for their blend of synthpop and Latin-inspired melodies, this track captures Cetu Javu's signature emotive style and irresistible sense of analogue rhythm. Originally a hit in the late 80s and early 90s, this fine single is a staple for fans of 80s beats and its great vocals also bring plenty of old-school vibes.
Review: Cetu Javu's 'Por Que?' gets a fresh release on vinyl from Blanco Y Negro and it's a proper nod to classic dance nostalgia. Side 1 kicks off with the extended mix of 'Por Que?,' a melodic, synth-heavy track packed with infectious grooves, followed by 'Don't Leave Me,' which keeps the energy high with its pulsating basslines and emotive vocals. Side 2 brings a remix of 'Por Que?' that adds a modern twist, alongside the original album version, perfect for fans craving that irresistible late 80s/early 90s dance vibe.
Review: Soanish mega-label Blanco Y Negro continues to reissue rather good, but frequently overlooked, gems from its vast archives. This one, from German-Spanish synth-pop band Cetu Javu, dates from 1992 and sees the combo combine their early Depeche Mode-esque vocals and synth sounds with nods to the more driving, peak-time ready sounds of European house music. That's best exemplified by the opening 'Remix' version of title track 'Dame Tu Mano', which also comes in the moody synth-pop style 'Extended Mix'. Over on the flip, we get the chiming melodies, mid-80s Pet Shop Boys grooves and Euro-dance bleeps of 'Una Mujer (remix)' and the Bobby Orlando-meets-Shep Pettibone fun of 'Tempo (remix)'.
Review: Cetu Javu's iconic track 'Por Que?' (which as you probably can work out translates as why?) returns on a lovely grey marbled vinyl 12" courtesy of Blanco Y Negro Spain. A timeless classic from the late 80s and early 90s synth-pop and electronic scene, this single captures the band's signature blend of infectious melodies and emotive Spanish vocals. It's a fiery sound that is packed with melancholic undertones and driving rhythms that mean it has remained a dancefloor favourite for fans of vintage electronic sounds. This special edition offers a pristine homage to the era that takes you back in an instant.
Review: Priscilla Chan's critical Cantopop stylings return to the fore with a brilliant reissued EP through German label Thank You. It's proven admittedly impossible to track down any info on the motive for this one, save for its faithful unearthing of Chan's 1998 classic 'African Dance', which fuses the lively call-and-responsive musical motifs heard on the Continent with the dance-pop sensibility of her very own. Thereafter come three much more balladic bowl-overs, which reach their zenith on the unnamed 'Track 4', an incredible instrumental production that pits an undeniably eighties instrumental palette against a frankly heartfelt piano line.
Review: Cheeky Chops delivers another dose of disco delight with their latest 12" release. On the Side-1, they pay tribute to Madonna's 'Borderline' with an electrifying 11-minute edit that transports listeners to the heyday of New York City's 80s clubs. This more electronic rendition captures the essence of the era with hand-raising ecstasy and a distinct A.M. vibe. Flipping over to the Side-2, Cheeky Chops treats us to an extended version of Bananarama's 'Cruel Summer,' perfect for those long summer breaks we've all been yearning for.
Review: It might be getting cold and dark and wet here in the UK but music will always be able to transport us to warmer, sunnier, happier climes. And so it is with this new 7", which includes a booklet, from Discodelic. It's a two tracker from Cizana and La Nueva Generation that is flame hot and bristling with energy - Cizana's 'She Sold Her Soul' kicks off with its joyous flutes, hand drums and percussive Latin grooves then La Nueva Generacion slow things down and up the brass with their carnivalesque Afro-funk workout 'Uhru Sasa'.
Review: Vintage Pleasure Boutique is an excellently named label out of Poland that is fast approaching its 20th releases. This latest 12" is another dazzling Italo disco gem that arrives on translucent yellow vinyl. Claudia T.'s 'Fatal Destination' arrived originally back in 1989 at the height of the genre's popularity and very much takes you back there with its cold but compelling synth sounds and crashing drums, all very reminiscent of the era. The soaring vocals brings the glorious hook next to zippy lead synths. This was a bit hit back in the day and is sure to win over just as many global dancers second time around.
Review: First released way back in 1984 as the debut single from singer Maria Chaira Perugini - the first of three 12" singles she released before disappearing into obscurity - 'Eyes' has long been regarded as an underground Italo-disco classic. This reissue, which boasts new artwork based on the Italian singer's later singles, presents remastered versions of the single's two mixes. The A-side 'Original Mix' is top-notch, synth-powered Italo-disco, with Perugini singing in heavily accented English atop beats, bass and stab-happy lead lines that sit somewhere between classic Italo-disco and the Hi-NRG work of NYC producer Bobby Orlando. Arguably even better is the flip-side Dub, which doffs a cap towards the Afro-cosmic movement via Marimba melodies, echo-laden vocal snippets, and a more chugging, arpeggio-powered groove.
Peter Seiler - "Timebend" (feat Sheryl Hackett) (4:32)
Eoism - "Ultraverse" (5:00)
Voertuig - "Cego" (5:19)
Voertuig - "808 Ambient Jazz" (3:45)
Eoism - "Even Flow" (5:45)
Review: Colkin from Raw Soul and Mauke Club sets the tone on this new FUTUR compilation, which has been curated by Benedikt Meger with a spherical acid house meditation. Peter Seiler's track, a standout from the reissue of his debut album Flying Frames, features Sheryl Hackett's soulful vocals and merges song structure with jazz improvisation. Eoism from Pulse Drift, Undersound, and Inch By Inch delivers low-swung electro flavours perfect for sunset vibes while the B-side opens with Voertuig of Tonal Oceans and Cobra Club who presents a seriously raw acid jam followed by an experimental, jazzy piece, reminiscent of the 90s downtempo era. 'Eoism' closes things with a floating, futuristic banger, going to make a well rounded (in more ways than one) and ultimately very useful piece of vinyl.
Review: Colors are a classic example of an obscure Italo-disco outfit who's quirky (and undeniably Italian) take on synth-pop chimed with listeners in different parts of the world in the mid 1980s. 'Never Mind', their second single, was a hit single in Germany and the Phillipines on its initial release in 1985 - hence this reissue. With its jangling guitars, nods to indie-pop and surprisingly deep and warming synths, it's one of the more Balaeric Italo-disco classics of the era, and one that has aged well. On this reissue, the trio's original instrumental and vocal takes come backed by two fresh revisions: a more synth and drum-machine driven rework by Flemming Dallum that drags it closer to classic Italo-disco territory and a twinkling, largely instrumental Hysteric edit tailor-made for dancefloors.
Review: Discodelic comes correct again with a new 7" that features a pair of rather lesser-known and brilliantly obscure Latin psych-rock gems. Conjunto Raza' 'African Dream' is all crackly and immediately nostalgic because of it, with noodle acoustic guitar sounds making way for a more upbeat and driving 60s garage rock sound but all in loveable lo-fi. Add in a red-hot vocal and you have a flame cut full of funk. On the reverse, The Scepters 'Message' is another well-aged jam that brings rawness and emotion in equal measure.
Review: The Scepters, formed in 1967 in Paraiso by guitarist Celso Spencer, were a popular Panamanian band known for their energetic performances across military bases and high school dances in the Canal Zone. Alongside Lionel Best and Jose James, they covered Top 40 hits and iconic rock bands like Santana and Jimi Hendrix. They released two 45s, including 'Message,' which debuted at Panama's first National Soul Music Festival in 1971 and features next here to a jam from Conjunto Raza, another project led by Agustin Leiro, this one with rotating musicians. They released a single 45 on Onda Nueva in the mid-70s and it blends Zonian and Panamanian talent with aplomb.
Take It To The Limit (Joaquin Joe Claussell extended version) (7:17)
Review: New York disco don Joe Claussell takes a scalpel to Norman Connors' 1980 uncut 'Take It To The Limit', turning a smooth Philly disco-soul burner into a swirling, peak-time epic. Originally voiced by Adaritha and buried on Connors' overlooked tenth LP for Arista, the track is flaymorphosed: pulled inside out, looped, stretched and whipped into chaos with Claussell's trademark floor-focused touch. If you've caught him lately at Body & Soul, you've likely heard this one spiralling into the rafters.
Review: NYC Records looks outside its in-house stable for the first time here and signs the delightful nu-disco delights of Constellation. This duo hails from Miami and focuses on space disco sounds that fans of the famous Metro Area style are sure to love. They remain mysterious themselves but their beats are brilliantly designed with plenty of retro-future pads, cosmic arps and tight basslines full of colour, texture and soul. Like Daft Punk but deeper and more dubbed out. All four of these cuts are sure to get floors going but also bring plenty of style.
Deborah Sasson & MCL - "(Carmen) Danger In Her Eyes" (Curses Revamp) (6:38)
Philadelphia Five - "Not Leaving Without Jerry" (Andi Revamp) (5:11)
JWB Hits The Beat - "House Fatale" (Curses Revamp) (7:01)
Voyou - "Houseman" (Stockholm Syndrome AU Revamp) (5:51)
Review: An EP that takes you through elevated 80s-inspired coldwave and synth soundscapes, matching nostalgia with modern production and featuring a seamless fusion of proto-techno, EBM and synth-pop. Side-1 opens with Deborah Sasson & MCL's 'Danger In Her Eyes' (Curses Revamp), a thrilling reimagination of new beat and synth-pop. The addition of vocal samples elevates its vintage essence, delivering a futuristic gem that's both haunting and danceable. Next, Andi's rework of 'Philadelphia Five's Not Leaving Without Jerry' injects energy with its uptempo groove, merging EBM rhythms with a dash of disco flair for an infectious, club-ready cut. Side-2 starts with 'House Fatale' (Curses Revamp) by JWB Hits The Beat, an ode to late 80s synth-pop akin to My Life with the Thrill Kill Kult. Chopped vocals and melodic synths create a hypnotic, era-defining vibe. Finally, Stockholm Syndrome AU's revamp of 'Voyou's Houseman' leans into heavier industrial and EBM tones, blending them for a powerful conclusion. This collection is a great example in reviving and reinventing vintage sounds, offering a fresh perspective on timeless styles.
Review: After the first in this new Mellow Bangers series got us nice and twisted we're delighted to have the follow-up from Italo Moderni. Cryk kicks off with an eerie blend of Italo arps and dark wave drums with electro overtones on 'Double Crash' then the moodiness continues with the depraved bass warbles and crashing hits of Fragedis and his 'Disco Nicotina.' Antoni Maiovvi brings a lightness of touch to his delicate arps and celestial harmonies on 'Stopping Power' and Adrian Marth layers plenty of sugar and pixelated synths into his loopy 'Modernism.'
Chez Madame La Baronne (Idjut Boys Fazz Junk version)
Review: Earlier this year, French disco and jazz-funk combo Chatobaron joined forces with fellow Parisian Dimitri From Paris for the rather good 'I Like (The Music That You Play)'. While that was a wholehearted disco workout, this speedy sequel sees the band (and their high-profile collaborator) explore their West Coast jazz-funk influences via an inspired workout full to bursting with killer instrumental solos, dusty grooves, memorable motifs and a genuinely killer, cowbell-sporting percussion brerak. This time round, there are no Dimitri From Paris remixes; instead, dubbed-out disco favourites the Idjut Boys are on hand to smother the track in tape echo and dub delay. The result is a typically spaced-out, low-slung affair that naturally makes the most of the band's killer bassline and layered percussion sounds.
I Like (The Music That You Play) (club vocal) (7:30)
I Like (The Music That You Play) (club instrumental) (7:07)
Review: Parisian jazz-funk, disco and boogie band Chatobaron - an outfit helmed by multi-instrumentalist Frank Chatona - have previously worked in the studio with house and nu-disco mainstay Art of Tones, so it's no surprise to see them recruiting the mighty Dimitri From Paris to mix their latest single. His A-side 'Club Vocal' mix is a genuinely riotous and celebratory affair, with strong group vocals (singing about how much they love 'your' music) and heady horns rising a jolly and joyous, piano-sporting disco-funk groove rich in low-slung bass and Cerrone style percussion. It comes accompanied not by one of Dimitri's deconstructed dubs, but rather an equally excitable 'Club Instrumental' mix that boasts all the goodness of his A-side mix minus the vocals.
Aniceto Molina Y Su Conjunto - "Cumbria Candela" (3:04)
Catalino Y Su Combo Negro - "Cumbia Montaera" (2:23)
Los Hermanos Martelo - "Por Las Buenas" (2:52)
La Pesada - "Cumbia Y Tambo (En La Lluvia)" (3:54)
Review: The third instalment in the 'Cumbia Sabrosa' series delves into the rich archives of Colombia's Codiscos label, unearthing a selection of tracks that exemplify the vibrant energy of cumbia. Artists such as Los Trotamundos, Aniceto Molina y su Conjunto, and Los Hermanos Martelo contribute to a compilation that seamlessly blends traditional rhythms with the dynamic flair characteristic of the sonidero scene. Each track offers a unique glimpse into the musical landscape of the era, highlighting the enduring appeal of cumbia's infectious beats.
We use cookies to personalise content and ads, to provide social media features and to analyse our traffic. We also share information about your use of our site with our social media, advertising and analytics partners who may combine it with other information that you've provided to them or that they've collected from your use of their services.