Back catalogue:

Review: The shadowy Edit & Dub crew don't talk about their releases, so it can be difficult to ascertain whether the tracks they're showcasing are long-lost originals, or new edits of ridiculously rare records. Either way, the label's latest EP features versions of some seriously hard to find treats, starting with a fine 'extended disco instrumental' of Sanctuary's 'Disconnect', a fine disco-boogie jam from 1980. They then deliver a (we think) previously unreleased 'extended disco' mix of Willie J & Co's killer 1976 disco-funk gem 'Boogie With Your Baby'. On the B-side we're treated to two takes on the mysterious 'Familiar Time and Place' by Uknown Tapes: a 'Chicago Mix' which sounds like late 80s Windy City acid house smothered in spacey deep house chords and intergalactic electronics and the mid-80s techno-tinged 'Detroit Mix'.

Review: When love drives us wild - perhaps one too many cocoons in our stomachs have hatched as butterflies, leading to an over-excitation of winged beats - a paradoxical sense of undomesticated entrapment may follow. Whether or not our love is acted upon or returned, the fear is that the feeling will never go away, that we have been irreversibly rewilded, and that the mere mention of the person wall never fail to stir us. Kilque nailed the flooding feeling with 'I Can't Shake This Feeling' in 1982, where the motivic repetition of the chorus line "...must be love" added extra poignancy to the word "burden" to describe a song's hook. Now UK production talents U Key and Omar wax the tune extra weightily, lighting a cogno-scented candle of full-boded electro disco, eliciting strange, fatuous sensations in proximate suitors. The track boasts a full live brass and string sections, uniting Japanese and Bostonian talents; it also features Curtis Williams of Kool & The Gang on alto, while Oberheim and Moog add a modern electronic spice. Young Pulse's remix marks a sensorial broken-beat easer-upper on the B, with its foolhardy breakdowns and Rhodesy downturns.

Review: Universal Cave's Self Control cover is a captivating reinterpretation of Laura Branigan's synth-pop anthem. Stegemann's balearic house rendition infuses the track with a laid-back groove and echoing vocals, creating a hypnotic and alluring atmosphere. Universal Cave's other offerings on this release showcase their eclectic disco influences. 'Up All Night' transports listeners to the funk and groove era of the 1970s, while 'Too Much' tantalises with its disco-tinged sensuality and infectious melody. This EP is a versatile record that should appeal to those who enjoy disco and the innovative spirit of nu-disco.

Review: Those who frequented Manchester clubs in the early 90s - particularly those where local hero Hewan Clarke plied his trade - will have danced to 'Got To Make Sure', one of a handful of killer street soul records made by Lancastrian vocalist Hughie Crawford as U-Bert. It is considered by some knowledgeable collectors as one of the greatest street soul records of all time. It's certainly been hard to find - hence this much-needed reissue from Backatcha Records. Happily, all three essential versions of the track are present. The original A-side 'Pablo Mix', a smooth, seductive and effortlessly soulful affair rich in loved-up dreaminess and fluttering synth sounds, comes backed by its original B-side, the jauntier and more dubbed out 'Minister Mix', and the more up-tempo, dancefloor ready 'Remix' (originally remixed under the alternative U-Bert & Co alias). Simply essential.

Review: The UB's bring their particular brand of funk to this steamy and fiery new 7" on the Fraternity label. It finds them in edit mode and first up reworking 'Stone Fox Chase'. It has some country-style harmonica built into the raw beats and plenty of psyched-out guitar lines that bring Americana vibes to the percolating rhythms. On the flip is their edit of 'Delirium' which is a totally different proposition - smooth funk grooves with busy chords and icy hi-hats. It's one that looks to the stars and crushes there on a feelgood vibe you hope never ends.

Review: Omar Garcia's synth enchantment is a great invitation to get lost on a dancefloor. He has been perfecting his craft on his trusted machines since 1997 and has always been influenced by the electronic landscapes of 1980s Italy. Now, Ultron unveils his latest EP, which is another testament to his unmatched expertise. This release elegantly blends vibrant energy with mesmerising melodies and makes for a delicate balance of intensity and allure. There is a timelessness to his beats, as well as hints of electro, disco and Italo, all of which add to their lasting impact.

Review: French-Haitian saxophone player Ulysse laid this cult gem down in 1983. After its release, he became an underground sensation within the niche French boogie scene, Both of the tunes which now get reissued manage to successfully mix political statements with dance-floor fire. First up is 'Naima' which is about the resilience of a woman who has grown up in war. On the flip is 'Tiers Monde' which is a much more heavy digital reggae tune that offers a reminder that we must not forget about abandoned children of the Third World. This was big in Paris in the 80s and will be just as big now.

Review: While he's not put out many re-edits of late, Luke Una has serious scalpel-job pedigree. Back in the 2000s, he and then DJ partner Justin Crawford released a series of largely disco-focused edit EPs on the hush-hush Electrik Souls series. Here he returns to the format with the first in a series of reworks focused on his popular, dusty-fingered E Soul Cultura project. He begins by teasing out and lightly toughening up a killer Caribbean cut from the 1990s, Ella Andall's 'My Spirit Is Music' - an insanely rare and hard to find number that the Sheffield-born DJ has naturally tweaked sensitively. Elsewhere, he emphasises the 'proto-house dub' feel of Slick Mission's early UK house number 'Time's Up', before going even dubbed-out and more percussive on Manu Dibango's lesser-known cover of Latin disco classic 'Jingo'.

Review: The Looking In EP marks the return of Brooklyn-based quintet Underground System to local imprint Razor-N-Tape, with a stunning five track release of originals and remixes. It offers a fresh and unique blend of Balearic grooves, left-field funk and up-tempo backbeats that respectfully showcase the US sound. The tracks are complete with the band's signature use of flute and synth soundscapes, driving percussion and catchy vocal hooks that are sure to get you moving. On the B-side of the record, RNT mainstays Nenor and Clive From Accounts deliver two club-ready remixes that take the tracks into even more dancefloor-friendly territory.

Review: Razor-N-Tape's white label series serves up its first-ever various artists collection here, and it opens with Windy City master Glenn Underground. His 'Happy House' is a joyous disco stomper with florid strings and lung-busting vocals. Rahaan adds his own edit to 'Be Cool', which is a jazzy dancer with magnificent guitar work and brassy horns. 'Hot Damn' (JKriv edit) keeps the love flowing with funky disco house energy and an air of hands in the air celebration and The Patchouli Brothers flip 'Love Explosion' into a strident, front foot wafered and pumping disco funker with gorgeous vocals. There I so much sunshine and joy in these tunes that they melt even the stoniest of hearts.

Review: United Disco Organisation have been tapped up by the ATA label for its first voyage into the world of disco. The band is made up of producer and bassist Neil Innes and guitarist and singer Chris Dawkins and here they head off to the cosmos with a classically inclined sound that comes with lashings of Philly soul influences. 'Send The Rain' opens things up and features a fine flute lead from label-mate Tony Burkill. Dawkins's vocals then take the lead over a nice woody, organic groove and an instrumental is also featured. 'Funky Thing' is a glossy, vibes-heavy tune with big melodies and chunky drum funk.

Review: Universe City's 1976 12" promotional release, showcasing 'Can You Get Down' and 'Serious,' achieved legendary status in the disco realm. Produced and arranged by John Davis, its limited availability and enduring demand, amplified by spins from influencers like Sean P and Dave Lee, underscore its lasting impact in the disco community. Davis, a pivotal figure in 1970s disco, significantly shaped its sonic landscape as a composer, arranger, and producer. Now, officially reintroduced after 48 years, this exclusive Record Store Day reissue is a must-have for disco aficionados that won't break the bank like an original would.

Review: Years after their 1970 sessions at Damon Studios in Kansas City, Bump & The Soul Stompers, under the direction of Jerald "Bump" Scott, adopted the name Unnatural Funk Band, a nod to the era's unconventional naming trends. Despite their efforts, "I Can Remember" failed to find a label. This led them to the famed Cavern Studios in Independence, Missouriiliterally carved out of a limestone cavern. The result is a fascinating juxtaposition of sounds: 'Living in the Past' offers a wistful, falsetto-laden journey with a laid-back narrative, evoking a nostalgic aura. In contrast, 'Strange Happenings' delivers a remarkable funk experience, revealing the band's prowess in crafting vibrant and innovative grooves. This track, a hidden gem from a virtually undocumented Kansas City soul ensemble, was uncovered with the help of Scott during the Numero Group's 2013 research for the Eccentric Soul: The Forte Label compilation. Unnatural Funk Band's release, featuring these previously unreleased tracks, represents a significant find for funk aficionados. The limited-edition 10" vinyl showcases their unique blend of nostalgic funk and innovative rhythms, a testament to the enduring impact of their music.