Les Mondes Engloutis (Psychemagik main mix) (7:17)
Les Mondes Engloutis (Psychemagik 5am mix) (9:07)
Review: Martin Brodin's MB Disco imprint continues to deliver the good stuff, this time featuring two utterly essential Psychemagik mixes of Alico vs Cagri's "Les Mondes Engloutis". These mixes actually first surfaced on a digital-only release back in 2013, but now they've been buffed up for a full vinyl pressing, and rightly so. A side "Main Mix" is a full bodied, emotional banger with a lead drop to get crowds waving arms and singing along wholeheartedly. Our pick is the "5am Mix" on the flip though, where the synths take on a more shimmering nocturnal tone without losing that bright and bold character that will land this 12" in all manner of record bags this summer.
Review: Prins Thomas has decided to shake-up the Full Pupp release schedule a little, launching the Full Pupp Splits series to showcase tracks from different artists on one slab of wax. For the first installment, he first turns to long-established label artist (and occasional Norwegian passport office pencil-pusher) Daniel 'Blackbelt' Andersen. His "Dolphin Sandwich" is a deliciously tasty affair, with bold but breezy synthesizer riffs, huggable grooves and yearning, sun-kissed chords. In contrast, newcomer Christian Engh offers up something darker, chunkier and more bass-heavy, drawing influence from both Dutch revivalist Italo and the analogue-rich Norwegian disco with which Lindstrom made his name.
Review: It's been a long time between drinks for Body Music, a duo formed by Vito Roccoforte from NYC and Bosq from Medellin that have been strangely silent since tickling our fancy with a superb debut EP on Razor N Tape Reserve in early 2017. "Don't Think Twice", the lead cut from this belated follow-up, offers a neat summary of their developing sound, with guest vocalist Christian Holiday singing soulfully over cowbell-heavy disco percussion, dazzling nu-disco synth stabs and a Chicago house style analogue bassline. Holiday is also in fine form on slower flipside "Give My Love A Try", a seductive affair where chiming melodies and dreamy synths slowly rise above a glassy-eyed nu-disco groove. Two rock solid instrumentals complete a quietly impressive package.
Review: BAH040 is the first time out for Caissard DJ, not that you'd know on the basis of this plush, accomplished romp through 80s island boogie that chimes perfectly with the Bahnsteig 23 vibe. "Bright Dance" is a noirish smorgasbord of crystalline melodies and good, honest synth-pop thrust, while "Market Anthem" switches things up with a new wave twist. "La x5" is a wonderful curio, all stuttering, borderline baroque tones and Eastern string histrionics. The "Melange Dub" of "Arrakis" is a wild soul trying to be tamed by the machines, and then "Demo-cracy" dips into an almost minimal wave pulse before "The God Emperor" finishes the eclectic ride with ethnic chimes and percussion filtered through a grainy medium.
Review: Stone cold New Jersey funk business; Calender's seminal "Hypertension" has been a waymark in dancefloor developments since '75 and its big strings, high energy and nagging vocals still have total resonance to this day as proved by this rolling, conga fuelled twist from Mexican maestro Hotmood. Flip for more relevance as "Ritmo Latino" (from Calender's '76 album "It's A Monster") gets a cheeky breakbeat facelift from Voodoocuts. Now there's no excuse not to get funky every single day of the year.
Review: After building a reputation via a swathe of rock solid, digital-only EPs on About Disco (an imprint he founded in 2015), Rafael Cancian has finally been given a chance to showcase his wares on wax. There are lots of top-notch edits to enjoy on the Brazilian producer's first Razor-N-Tape outing, from the sax-powered, solo smothered disco-funk cheeriness of "C'est La Douceur", to the low-slung South American disco grunt of "Fragil" and the jazz-funk tinged carnival goodness of superb closing cut "Besos Libres". There's no needless production trickery or shamelessly beefed up house beats, just perfectly DJ-friendly rearrangements of obscure, little-known gems.
Review: Cannon & Mirrorball may not be the disco edit scene's answer to moustache-sporting 1970s/80s comedy heroes Cannon and Ball, but they certainly serve up tracks that will put a big goofy smile on your face. Their latest Disco Bits adventure begins via "Black Rhythm Rap", a chunky, hip-hop friendly rework of an obscure, late 1970s disco-rap bomb rich in funky guitar licks, cut-glass strings and party-starting MC flows. On the flip they get even cheekier, placing Loleatta Holloway's incredible "Love Sensation" vocal over a stomping, Blaxploitation-era disco-funk backing track and all manner of familiar soul and funk samples. Purists will no doubt sneer, but they really shouldn't: this is tastefully produced disco heat of the highest order.
Review: Casbah strikes again with a powerful homage to the NYC foundations with this juicy, insatiably funky piece of disco soul. Driven by a belting vocal from Angela Goode, there's a strong sense of timelessness, honesty and raw funk that smacks with authenticity and one of the funkiest slap-bass breakdowns you'll hear all year. Chicago's Rahaan takes the remix duties with a pumping contemporary disco cut while Casbah strips things back himself for the essential DJ tool that is the percussion edit. Feel the love.
Review: Back in November 2018, Oli Stewart AKA Casbah 73 delivered his most wholehearted tribute to the disco era yet, the brilliant "Love Saves The Day". On "To Be Free", he continues in a similar vein, doffing a cap to the pioneers of the Philly Soul sound via cut-glass strings, crunchy Clavinet lines, tasty electric piano solos, walking bass and a lead vocal from Angela (Angie) Gooden that stirs memories of disco divas of old. Stewart and his cohort of musicians go a little wild on the mostly instrumental disco-funk flipside, an exercise in dueling solos, lusty Latin horns, flanged guitars and heavy percussion that will get you hot under the collar for nine, all-action minutes. Brilliant stuff from start to finish from the experienced producer: don't sleep on this one.
Review: Hot on the heels of a re-work of Bobby Caldwell, edit stylist Caserta is back with another golden nugget. This time he turns his attention to the one and only Luther Vandross and serves up two equally essential but very different tunes that pay homage to his unique voice. The King Street Mix is all hip swinging claps and nodding bass riffs that are organic and heartfelt, whereas the Henry Street Mix nods to the '90s heyday of New York. With warm neon organ stabs that will get any floor pumping, both interpretations have Luther's soulful voice front and centre.
E Man Boogie '83 (Jimmy Castor/Gerry Thomas 12" mix)
Review: Larry Levan remix - v.e.r.y. r.a.r.e.! 12" Import pressing of the extremely rare Larry Levan remix of 'It's Just Begun'.
On the flip is the original Jimmy Castor/Gerry Thomas 12" mix 'E Man Boogie 83'. We found these Salsoul 12"s in
a warehouse and have hardly any, once they are gone - they. are. gone.
Review: Cellophane was a cult project from Alessandro Novaga, an Italo producer who created tracks with a huge influence on the development of Chicago house. Besides his other production credits, Cellophane is an especially visionary venture that favours expansive, psychedelic suites of electronic disco over traditional song structures - just the kind of rare, oddball curiosity Best do such a good job of reissuing. While the A side is excellent in its own right, "Music Colours (Part 3)" on the B-side is the bomb here. Stomping, trippy and utterly addictive - from the Music Box to your record bag this kind of music just doesn't age.
Review: Fresh from the Harlem hotpot, 1980: Harold Sargent's Chain Reaction teamed up with Sound Of New York's founder and producer Peter Brown for a star-lit, horn-baked, organ-licked disco creation that still funks hard 36 years down the line. With its maximal approach, disco bubbles and emphatic gutsy vocals, it could be argued that this funk even harder today due to it ticking every possible disco, boogie and funk box possible.
Review: Serious summertime loving right here from Wah Wah's right hand maestro Scrimshire. Continuing to build on his impeccable editry reputation, here he provides three floor-ready feel good twists that do nothing but add to the originals' legacies. Chaka Khan's iconic slinky bassline gets all looped and tonked on "Sommer Love", Merry Clayton (who he's edited before with "Grandma's Hands") gets a little tempo injection and much more extension in the groove while McNeal + Niles' classic lolloping hazy soul jaunt enjoys a wry little electronic dusting. Slow, low and loaded with love...
Review: Here is the long awaited new single from Italian soul supergroup Change - some of you may recognise their classic "The Glow of Love" which featured the unmistakable vocals of then frontman Luther Vandross in 1980. After six successful albums throughout the 80's before disbanding and making a brief return in 2010, the group's new single "Hit Or Miss" will appear on their first album in 38 years: Love 4 Love which is produced by Change alumni Davide Romani Mauro Malavasi, it's got the same kind of life-affirming soul power you've come to love from the outfit, and they've still got the knack for a great tune - listen for yourself!
Review: Surely the freakiest house party in town, Bahnsteig 23 is the gift that keeps on giving. The relentless release schedule keeps up right here with this unmissable missive from Cherrystones, a learned selector and all round sonic oracle who regularly rubs shoulders with Andy Votel and that ilk of muso's muso. As you'd expect there's a rich spread of vibes on offer here, from the Afro-disco rub down "Simba Dub" to the Eastern psych lilt of "Belly King". "ExOhSkeletons" brings out some gutter punk styles and loops them into a strangely hypnotic form, and "Topical Meat Wave" imparts some pan-seared drama onto a French disco-funk. "KonGkinG" is a shouty new wave funker, and then the record wobbles out on a suitably deep B3 cut for the weirdos, all Oizo-esque synth blurts and sloppy live drum grooves.
Review: The mighty Cherrystones originally dropped the crackling party heat of "Blood, Campari & Sand" on his own Bandcamp page, and now he's doing the right thing and committing it to wax via Duca Bianco. It's a vital, funk-rooted jam that revolves around dusty drum licks and piano, as badass as it is considered. "Meta Weta on the flip is equally cool in its execution, this time using some uneasy synth pulses that reverberate between the laconic step of the beat. Drawing on library music, Giallo and deep-digging grooves from the outer reaches, Cherrystones once again demonstrates his knack for off-kilter tackle to get the freakier party set moving in approval.
David Last - "All That's Left" (feat Lavender - dance mix) (5:51)
Review: Besides its inimitable name, Hobo Camp has had a pretty unbeatable first few years in the game, switching up the electro sound with shades of loopy house and techno. These guys have released over two dozen EPs since 2016, and are showing no signs of stopping if this new collaborative release is anything to by! Pumping the vibes through with utter ease, Run The Length Of Your Wilderness is a daring, rip-roaring amalgamation of tech-driven sounds that span just about every quality corner of the game. "The Industrial City", from Cherushii, moans and weeps with a fragile acid bassline over broken percussion beats, while Nackt's "Next" floats at a house tempo, driven forwards by a winding bass from the darkest corners of the 4/4 game. On the flip, Roche's "One For Cherushii" bigs up his counterpart with a deep, aqueous house chugger, and David Last's "All That's Left" drops a clean, sparkly prog house groover for the lovers.
Review: Self-styled "French house producer, disco cutter and horse" Chevals makes his bow on Masterworks Music following well-regarded outings on Whiskey Disco, Kolour Ltd and Editorial. To start with, he charges straight towards peak-time dancefloors via the bouncy, gospel-powered disco-house pump of "My Feet Keep Changin'", before reaching for the jaunty horns and sparkling synthesizers on a rolling house-style revision of a mid 1980s cut. "Never Will I Leave You Baby" is a hybrid re-edit/remix of an '80s soul sing-along rich in smooth chords and bubbly nu-disco bass, while closing cut "Love Somebody" wraps purple-tinted synthesizer lines and P-funk electronics around a bumping house beat. It is, like much of the rest of the EP, insatiable.