West Coast Poplock (Mister Mushi remix part 1) (4:20)
West Coast Poplock (Mister Mushi remix part 2) (4:17)
Review: Disco Donuts strike back with a back-to-back pose in the vein of pivotal disco-funk remixing from local edits master Mister Mushi. Once an out-letter of releases on his own Mushi 45 imprint, through which we heard many another reissue by the likes of Afro Breed and The Ethiopian Brothers, this second of two new migrations over to the Disco Donuts label proves a versatile sound and approach to his craft. The A-sider here features a mechanically reproducible instrumental version of Chic's 'Good Times' mashed up with Ronnie Hudson's 'West Coast Poplock', providing equal doses of freshness and reconnaissance.
Dream A Dream (ID edit - Cryptic Retouch By Che & Matica) (7:14)
Review: After five years on ice, Greg Wilson has rebooted his long-running A&R Edits imprint, an outlet the UK electrofunk pioneer founded back in 2013. As usual, the edits come not from the man himself, but rather mates and collaborators. Ian Ossia steps up first with 'Papa Stoned', a deep, driving, dubby and lightly acid-flecked rework of 'Papa Was a Rolling Stone' with tightened, beefed-up drums and heaps of peak-time potential. Over on the flip, Che and Matica provide a 'cryptic retouch' of a familiar disco-funk favourite (titled here 'Dream a Dream'), foregrounding heady horn blasts, sprawling and spacey synth solos, and another sweat-soaked disco groove.
Review: Under the Linkwood alias, Nick Moore has released a wealth of fine material since debuting in the late 2000s - including a string of sublime albums and EPs. Last year he popped his re-edit cherry alongside The Mighty Zaf via a two-tracker paying tribute to the late, great Phil Asher. Here he takes the next step, delivering a first solo scalpel missive via the reliable and long-running Moton imprint. On side A, the Edinburgh producer attempts to 'Make It Better' via a razor-and-tape style edit of a slap-bass-sporting, synth-wielding slice of early 80s disco-boogie perfection. We have no idea of the source material, but the lightly extended track is as infectious as it is intriguing. Over on side B, 'No Easy' is a sweet, string-laden slab of mid-tempo disco-soul sweetness, while 'Brekkers' is a squelchy, up-tempo electrofunk workout tailor-made for break-dancers.
Undercover Of The Night (unreleased instrumental) (4:52)
Miss You (unreleased instrumental) (4:49)
Review: Rolling Recordings from Antigua makes its debut here with a first release under the guise of Rock Star Heroes who offer up a couple of hard-to-find and previously unreleased funky disco influenced club bound instrumentals of out and out rock classics from one of the worlds best known stadium bands. These are perfectly designed for the club and collide rock, funk, disco and more into fresh forms. Opener 'Undercover Of The Night' popular with the likes of DJ Harvey and is a slice of raw, hard-hitting groove magic with organic percussion and live drums laden with funky guitar riffs and lively chord work that brings the whole thing to life. On the flip is an instrumental version of 'Miss You' which still has all the swagger of the iconic original with sultry harmonica luring you to the floor where the masterful drums and guitars will keep you moving.
Hi Tension - "British Hustle" (Dave Lee Brit Funk Revenge mix) (9:14)
Funky Worm - "Hustle To The Music" (Dave Lee Re-Wriggle) (6:59)
Foreal People - "Tango Hustle" (Dave Lee Latican Hustle) (7:09)
Foreal People - "Tango Hustle" (acappella) (1:41)
Hustle Beats (4:31)
Review: Z Records returns with a Hustle-tastic 12" to light up both your life and DJ sets. It's the boss himself Dave Lee who kicks off with his extended rework of a bonafide Brit Funk classic in the shape of Hi Tension's 'British Hustle'. Featuring David Josephs's signature vocals over the chugging Caribbean rhythm track, it's a song that's never received an extended club mix from the tapes since its first release in 1978. His second cut is a Re-Wriggle of a Funky Worm volume pumping classic that becomes a fat-bottomed house jam with stomping brass, ear-worm vocal hooks and Latin inspired keys. "On the flip' (as they say) is Foreal People's 'Tango Hustle' - a driving clav heavy, jazz funk workout complete with chanting dance instructions over various solos. Add in an acapella and some 'Hustle Beats' and you have a very muscular package.
Review: The one and only Mr. K presents a two-sided treat here starting with Janice McClain's underrated 1983 disco track and featuring a smooth, laid-back groove that blends steppers vibes with mid-tempo Philly soul. Written by McClain's uncle Milt Tennant and Thom Page, it captures a classic sound that is further enhanced by McClain's heartfelt vocals. This edit trims the rare 12" version for a 7" debut with pristine sound and the B-side flips to a fresh take on 'Brazil', which was a 1975 hit by the Ritchie Family. Mr. K's edit extends the vamp section, offering a full, uninterrupted four minutes of irresistible disco joy.
Review: New York's incomparable edit king, and a hugely prolific one at that, Danny Krivit aka Mr K returns with some elongated reworks of a couple of Stevie Wonder's most timeless tunes. First up is his version of 'Master Blaster' which was originally the sound of Stevie paying tribute to Bob Marley. In his hands, it has a big intro and drums ready to rock. Flip it over and you will find 'I Was Made To Love Her' which has big r&b overtones and the sort of breakdowns that really build a vibe in the club. Adding in lashings of signature soul and you have two more steamy and effective tributes from the one and only Mr K.
Review: REPRESS ALERT!: Perro Bueno Edits is back with more muy bueno refixes of some classic disco sounds. This third such volume features two reimagined Afro-funk tracks by the mysterious label head Perro Bueno. The first track 'BOWO' brings a nice driving groove with open hi-hats add some smoothness and funky guitar riffs and punchy horns adding some extra dancefloor bite without sacrificing the vintage roots. The second track 'MSMO' is a heavier beat with vamping chords and guitar riffs really sending it home with clever sampling and modern enhancements. Both nostalgic yet fresh this is another tasteful disco, Afro and funk fusion for discerning dancers.
Review: After a year of energizing live performances, Say She She releases their vibrant cover of the Jackson Sisters' classic 'I Believe In Miracles.' With Sergio Rios of Orgone behind the fresh, funky production, this track is irresistibly danceable. On Side-2, 'C'est Si Bon,' is a French discodelia anthem from their acclaimed sophomore LP Silver. It's a bi-lingual, joy-inducing track that compels listeners to dance. This 45 features two crowd-pleasing tracks that promise to ignite any dancefloor. With its infectious energy and stellar production, this record is bound to become a favorite for vinyl enthusiasts and partygoers.
Review: The majestic Monsieur Van Pratt is back with more of his thrilling studio work, and once again he reinvents classic disco tracks with modern flair. The third instalment in this series is characterised by a distinctly underground energy that defines the "Illegal Disco" vibe. The opener 'Volar Como El Viento' is a soaring rework filled with airy synths that evoke freedom and lightness. 'Al Anochecer' re-energises a disco classic with an upbeat twist, while 'Mi Amor' is all about intimacy and passion through sultry, Spanish-inspired tones. Once again colliding nostalgia and innovation as he always does, Monsieur Van Pratt delivers a masterclass in modern disco reinterpretation that will also bring together all sorts of dancers.
Review: Jamie 3:26, the Chicago house luminary, returns with the second instalment of his Danacefloor Damage series, a collection of re-rubbed disco cuts crafted with the dancefloor in mind, but possessing a depth that transcends the club. This time around, he's unearthed three gems, each an ode to his impeccable taste and his uncanny ability to breathe new life into forgotten classics. 'Flyin'' takes flight with a dizzying array of soaring strings and a groove that's as infectious as it is propulsive. 'Funkin' (Hardy Tribute Version)' pays homage to late disco/early house legend Ron Hardy, its driving bassline and soulful vocals a fitting tribute to his enduring influence. 'Jungle DJ Tool' injects a tribal energy into the mix, its percussive rhythms and hypnotic chants guaranteed to induce a state of dancefloor abandon. Jamie 3:26's edits are a masterclass in dancefloor manipulation, expertly balancing euphoric highs with moments of introspective restraint. A potent reminder that the classics never truly die when preserved in the right hands.
Review: REPRESS ALERT!: Drop Music marks a marvellous quarter of a century of releases with this new slab of vinyl featuring some gems from disco funksters Crazy P and the house mainstays Inland Knights. Crazy P go first with 'Disc Odyssey' which is perfectly indicative of their much beloved sound with its low slung kicks and funky bassline. Inland Knights then offer a trio of in demand & unreleased tracks. 'Overnight' is a bumming deep house joint, 'Walk On' has an icy late night vibe and balmy pads and 'Do It Again is a more playful closer, with some killer b-line action. All four, needless to say, are timeless gems, and the fact the last two are appearing on vinyl first the first time makes it an even more desirable cop.
Review: If It Ain't Jazz, we don't know what it has! Back, after a punctuated pause, the label return to dazzle us with their enduring, distinctive brand of instrumental disco-soul razzmatazz, and here we hear Laroye and Aroop Roy rub two heads' choices up the right way, both into phattened, globular, kick-boosted anthems. First comes 'You're A Star', an electroni-cization of Aquarian Dream's 1978 disco explosion, to which Laroye brings much extra shimmy and sway. Then there's Roy's 'Let The Music Play', sampling an unknown (to us) number that - don't get caught off guard - certainly *isn't* Shannon's freestyle hit from 1983. Whatever it is though, it's a banger too!
We Got To Hit It Off (Dimitri From Paris Liberated Woman mix) (6:35)
We Got To Hit It Off (Dimitri From Paris Liberated Woman dub) (6:44)
We Got To Hit It Off (Opolopo mix) (5:45)
We Got To Hit It Off (Opolopo Deeper mix) (7:43)
Review: Millie Jackson emerged from the Deep South before properly coming of age in the grit of Newark, New York, but her voice always sounded like it was made for the spotlight i bold, sharp, and unfiltered. Across the 70s, she carved out a singular space in soul and funk with her fearless delivery and barbed wit, speaking plainly about lust, betrayal and resilience long before it was fashionable to do so. Her run on Spring Records placed her alongside The Fatback Band and Joe Simon, where she balanced tender ballads with club-ready burners, always laced with her signature no-nonsense bite. 'We Got To Hit It Off', first released in 1979, sits squarely in that lineage i a disco-soul gem with just enough snap to make it timeless. Spring Revisited brings Jackson's original into sharp new focus: Dimitri From Paris uses the original session tapes to craft a mix full of glitz and muscle, while Opolopo offers two flips i one smouldering and stripped, the other buoyant and synth-heavy. These versions don't only overwrite the source, but underline its brilliance for new rooms and younger ears.
Juan Pablo Torres - "Cacao" (Dan Tyler NAD Bulto version) (7:54)
Juan Pablo Torres Y Algo Nuevo - "Pastel En Descarga" (Dan Tyler NAD) (3:39)
Grupo Los Yoyi - "Paco La Calle" (Nick The Record re-edit) (8:11)
Review: Dan Tyler and Nick The Record's third installment in the Mr Bongo Edits series brings a bold twist to Cuban classics with three tracks that are equal parts cosmic and dancefloor-ready. On the A-side, Tyler extends two Juan Pablo Torres tracks from his reissued 1978 'Algo Nuevo' and 1977's 'Super Son.' First, Tyler reimagines 'Cacao,' a standout track from Torres' LP, giving it room to breathe and intensifying the percussive climax with swirling synths and spacey dub effects. It's a track that thrives on a big system, building tension as it goes, and works wonders in the right environmentijust ask anyone who caught it at La Paloma in Barcelona. Next, Tyler dials into 'Pastel En Descarga,' turning the Latin-funk fusion into a punchy, trippy dub with delay and drama, keeping the track's energy while taking it further into spacey, cosmic territory. On the flip, Nick The Record tackles Grupo Los Yoyi's 1977 'Paco La Calle,' taking a 2009 edit and expanding it into a longer, more hypnotic piece. The percussion pushes and pulls as the psychedelic synths swirl, creating a dynamic and ever-building groove. The 2025 version is elevated with new synth lines courtesy of Tyler, deepening the track's psychedelic richness. A cosmic whirlwind of reworks that bridges the gap between '70s Cuban innovation and modern dancefloor sensibilities.
Review: Since 2013, Brighton & Barcelona duo Payfone have been crafting atmospheric, mid-tempo grooves on respected labels like Golf Channel, Leng and Defected. Their latest track keeps up their quality levels as a synth-driven, drum-machine-powered journey featuring deep Moog bass and striking vocals. On the flip, San Francisco trio 40 Thieves aka Corey Black, Layne Fox and Jay Williams provide a remix that is patient, slow-burning and underpinned by an undulating acid line. It's a moody, sultry production that continues Payfone's knack for sophistication and late-night allure.
Soulsearcher - "Can't Get Enough!" (Dr Packer remix) (6:34)
The Shapeshifters - "Lola's Theme Recut" (Dr Packer remix) (6:35)
Johnny Corporate - "Sunday Shoutin'" (Dr Packer remix) (6:49)
Cleptomaniacs - "All I Do" (feat Bryan Chambers - Dr Packer remix) (6:49)
Review: UK disco sensation Glitterbox light the touch paper on another fizzy summer with four gossamer smooth edits of four seminal house classics. Gliding us through time to soulful house's golden era with a sassy, loose groove shine to each edit; Soulsearcher's 96 anthem "Can't Get Enough!" gets respectfully plumped, Shapeshifter's 2003 sing-along bomb "Lola's Theme" is stripped back to a stark funk groove while Johnny Corporate's 2000 hit "Sunday Shoutin'" gets flipped into slinky bassline wriggler. Finally one of the best covers Stevie Wonder has ever had gets a luxurious rub down as Cleptomaniacs' 2000 swoon-fest enjoys the full Packer treatment. Summer starts here.
I Can't Shake This Feeling (Young Pulse Baby Powder remix) (5:42)
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.
Black Sun (Joe Claussell Classic instrumental mix) (10:44)
Review: Joe Claussell is a proper legend of the scene and New York powerhouse who has a sound so emotionally intense it brings people to tears. Here, he breathes new life into the Far Out Monster Disco Orchestra with a powerful remix of 'Black Sun' that arrives exclusively for Record Store Day 2025. Since debuting in 2014, the Orchestra, which features Azymuth's Jose Roberto Bertrami and Alex Malheiros, has attracted top remixers like Theo Parrish and DJ Spinna, and Claussell now joins that esteemed list by infusing the original with his signature spiritual energy and rawness. The result is a euphoric journey towards pure ecstasy driven by Heidi Vogel's soaring vocals as classic disco and grooves collide in pure magic.
Review: Bjorn Wagner's all-star tropical disco band, Magic Source, loves a cover version. The outfit's first EP boasted, as a bonus cut, a superb (and colourful) take on Tom Tom Club's 'Genius of Love'. On this belated sequel, they've gone one better by re-inventing A Guy Called Gerald's pioneering UK house classic 'Voodoo Ray' as a driving, all-live tropical disco jam. It's cleverly done, with all the key elements being replicated, sometimes in canny ways (the acid lines now become Clavinet lines, the synth-bass is now bass guitar, and so on). It's a fantastic cover all told and one that is far more than a smile-inducing novelty. Also superb is flip-side 'Interplanetary Bounce', a spacey jazz-funk/disco fusion cut rich in fuzzy horns, vintage synth sounds and shuffling drums.
Review: While nowhere near his most celebrated work, 'I Need You' is undoubtedly one of sadly departed San Francisco disco star Sylvester's most potent dancefloor workouts - a typically driving mood-enhancing cover that transformed a gospel song into a soaring, surging, tops-off hymn to sexual desire. This reissue pairs the Harvey Fuqua-produced original 12" version (1980) with what appears to be a previously unreleased re-edit by Chicago house originator Ron Hardy. The latter's take is more rhythmically sturdy and lightly percussive, with vocal and full instrumental sections (often drenched in effects) sitting side by side with extended drum workouts. It's a fine alternative take of a disco record that should be in everyone's record collection.
Review: Ripe, dripping and overflowing with spruced up sound comes Melbourne's Sgt. Slick, with a pluming four new tracks on his very own Recuts edits imprint, which bottles only the finest skimming off the top of a presumably unimaginably large carton of edits. On the A-side come edits of late 80s Janet Jackson and contemporary Lipps Inc., the latter of whose 'Funky Town' is especial eureka fodder, obviously ripe for the recutting in hindsight, where seemingly no producer has tended to its beat-tastic bowery before. The B brings chiptune melodies to the Doobie Brothers and a sped-up verve to The Ones' 'Flawless', also an especially brilliant selection for the discoizing.
Love Come Down (Ezel & DJ Spen Reproduction) (7:39)
Love Come Down (Ezel & DJ Spen instrumental Reproduction) (7:39)
Love Come Down (Ezel & DJ Spen R&B Reproduction) (6:14)
Love Come Down (Ezel & DJ Spen R&B instrumental Reproduction) (6:13)
Review: Evelyn 'Champagne' King's 1982 boogie jam 'Love Comes Down' is one of the most familiar and much-loved club anthems of the era. Ezel and DJ Spen are clearly fans, because they've decided not to remix or re-edit it, but 're-produce' it, adding her iconic vocals to their own fresh backing tracks. As the EP-leading full vocal 'Reproduction' vocal shows, they've done a terrific good job too, re-creating many of the original 1982 elements while re-framing the track as a piano, horns and guitar-rich slab of soulful disco-house joy. As well as an instrumental of that version, we also get vocal and instrumental 'R&B' takes. These are closer in tone and feel to King's 1982 original while feeling as fat, warm and groovy as you'd expect from a 21st century Ezel and Spen production. In a word: classy!
2001 Disco Party (Dave Lee Psychedelic Funk mix) (10:15)
Potion Of Love (Dave Lee Synth Vamp) (6:13)
2001 Disco Party (Dave Lee Strut Your Strat dub) (6:58)
Review: Dave Lee continues to be one of Britain's most accomplished disco dons. An established remixing extraordinaire, proven once more here as he tackles some stunning Disco-Funk heaters. First is the Psychedelic Funk mix of '2001 Disco Party' a hypnotic, sweat inducing slab of frenzied funk-action, did we mention this release brings the funk enough? His Synth Vamp mix of 'Potion Of Love' is a must for hi-energy synth solo aficionados, backed up with glorious strings, pulsating guitar and classic disco diva vocals. Last of all his 'Strut Your Strat Dub' of the opener brings irresistible guitar frets to the party, doubling down on the groove factors for some serious heads down, hands up feet stomping.
Review: Toolroom's Fool's Paradise offshoot has done a good job in offering up fresh, disco-inspired material, but it also acts as an outlet for key crew member Michael Gray's 21st century reworks of classic disco cuts. On this 12", the long-serving Essex producer puts his slant on Inner Life's boogie-era gem 'I Like It Like That', a 1982 Salsoul single fronted by a then young Jocelyn Brown and produced by Leroy Burgess and Patrick Adams associate Stan Lucas. Gray begins with a lightly housed-up - but suitably reverential - full vocal remix, ensuring plenty of space for the studio band's squiggly synths, bold pianos and dextrous bass guitar. Arguably even better is the B-side 'Dub', which alternates between heavy groove sections, extended breakdowns and effects-laden showcases of Inner Life's piano, bass and synths.
Review: A modern lunar take on jazz and disco, Jazz On The Moon hears Italian producer Paolo Fedreghini moonwalk backwards through live horns, bass, synth and guitar for a crisply produced six-track EP. Opening with original NASA-issue intercom vocals from the 1968 moon landing, 'Interstellar' crafts a moonscape of Harmon-muted trumpet and avant-garde growls, while expansive electro-funk opens out on the title track and 'Distant Planet', by which point a tonal shift is underway. The vibe is increasingly P-funky, erring desolate on the interluding 'Outer Space', before we wind up purblinded by the light side of the mood on closers 'Groove Odyssey' and 'Cosmic Funk'.
Review: Spanish label NeighbourSoul bring a heraldic design sensibility to wildout disco edits on 12", with this latest record taking on a leonine art direction on the inner label and sleeve. A top-up to their enduring vinyl-only series, this one hears a resident editor arride four more most-pleasing disco loops, believably emulating a bygone time in which DJs would sticker and knife their records to create workable tools, in the absence of software.
Review: Universal Cave set out on a brand new cosmic spelunk. Flipping a pair of raucous Latin disco pancakes on a searing summer lowrider bonnet (in lieu of a non-stick pan), these free-range disco ovules pack much underfoot promise for the discerning dancefloor. The Philly collective kicks things off with the spry 'So Soft So Sweet', with an elusively sourced sing-along hook, blazing synth-gasms, and impulsive drums. 'Mishugina Mambo', on the other hand, gleans its inspirations from the classic Sofrito Specials series: bold horns fly in the face of relentless percs, urging everyone and your mother to get moving.
Move Your Body (A Fire House Chicago Classique) (6:01)
Marisa (GU edit) (5:33)
Tell You (Today) (GU edit) (6:40)
Hurry Up & Wait (GU extended version) (6:34)
Review: GU (which is of course an alias of Chicago favourite Glenn Underground) is back with a 20th volume of his Classiques series. It once again finds him adding his own special studio magic to come stone-cold classics from the funk and disco world. First, he flips Le Cop's 'Move Your Body' into a funky percussive sound with steamy vocals. Then Machine's 'Marisa' becomes a jazzy and expressive sound with busy leads and funky guitars and Loose Joints's 'Tell You Today' is a wild horn-led sound with a busy arrangement and pumping drums. Last of all are the sunny and soulful sounds of The Isley Brothers's 'Hurry Up & Wait' with cool house drums.
Review: A true Chicago veteran with over 100+ releases to his name(s) steps into a fresh chapter with this first EP on a new label, delivering four cuts that reaffirm his mastery of deep house expression. 'Lush' opens with silky, melodic textures, driven by emotive keys and a warm, jazzy touchipure late-night soul. 'Magic (Gherkin Syndrome Mix)' ups the energy, blending jackin' rhythms, funky basslines and a misty atmosphere, while still rooted in deep house sensibility. Flipping to Side-B, 'Showing Off' cools things down with a laid-back piece that is a worth alternate to all the heat elsewhere on this disc. Closing track 'U Don't Own Me (Destructive Beauty Inst)' dives deeper still, a spacious, textured instrumental that has a timeless, defiant spirit. Every track feels like a personal statement from an artist still pushing forward, rooted in tradition but reaching more great emotional heights.
Review: The latest awakening from DFA Records hears James Murphy and company lift but a single little finger, precipitating an avalanche of anticipation, as this is their first material in three years. First premiering on NTS to clamorous acclaim, the band's first release since 2022 comes with minimal promo text, and packs bubbling synths with grinding drums, creating a familiar yet refined sound. Echoing the band's early style, it now comes on an exclusive 12" inverted by the 'Extended Trash Can Dub', which brings found, street-larked spring-sound, and vision-questing whispers, to a stomping indie romp, a potentiality promised but not entirely delivered by the original track.
Review: Chicago has had a strong re-edit culture since the days when Ron Hardy and Frankie Knuckles were defining house music culture in the mid 1980s. Rahaan, who has been one of the more storied members of the global re-edit scene for the last two decades, is undisputedly the Windy City's current scalpel-edit king - as his ongoing series of reworks on Hot Biscuit Recordings emphatically proves. Here he adds two more fine revisions to his bulging discography. A-side 'For Dancing & Singing' sees the veteran DJ/producer apply his Midas touch to a vintage 60s funk jam, making most of the sampler-ready breaks and groove, while flip side 'The Galaxy' - our pick of the pair - is a soaring and spacey 70s disco workout piled high with percussion, jaunty piano motifs and suitably intergalactic synth sounds.
Review: This is a mega rare 12" version of a classic tune which will never not get big reactions. 'Get Ready For This' is a proper Philly disco soul delight with stirring vocals that are deep and powerful over fine instrumentals and funky bass effects. On the reverse is a flip by the one and only Paradis garage legend Ron Hardy. He upped the drums and allowed the vocal plenty of room to shine while tweaking the synths and melodies to sit not so loud in the mix and allow horns room to shine. A real gem from the glory days of early club culture.
Review: Funkyjaws is the Belarusian DJ and producer Sergey Abramov, who has been dropping his funky disco heat on the likes of Kolour LTD and Shadeleaf Music before now, as well as his own fledgling self-titled imprint. This one kicks off with 'WME' which has some big horn action and stomping disco drums to liven up any party. 'Snapshot' has a raw vocal and atmospheric energy that is sure to uplift and 'Dancin' then brings some sweet hip-swinging claps. It's a string-laced disco affair to close with the majestic 'You'.
Review: As it is often best done in soul, contemporary band Annie & The Caldwells are a family affair, channelling the depths of heartache and euphoria through danceable Mississippi-born bombasts. Lead vocalist Annie Caldwell leads the band alongside her husband of 50 years Willie Joe Caldwell, and is backed by children Deborah, Anjessica, Toni, Willie Jr. and Abel. Juggling hard work with harder musical playing, Can't Lose My Soul takes aim at modern day soul greatness, documenting quotidian struggles and everyday joys in song, and centring their concept on their locality of Main Street, West Point, Mississippi, where the family have run various businesses for decades. With a record this rooted in community, who better to rep the Southern soul set than the Caldwells?
Review: The Mysterious MYOKEN crew is back with their fourth release in the popular series and as always, they're bringing their signature style to the table. This time, they've taken two massive pop and dance anthems and reworked them into atmospheric, proggy-tinged versions that'll have you locked in from the first beat. On the A-side, 'Erase' sets the tone with its spacious, groove-heavy energy, and the 'Erase Dub' brings out the deep, layered textures, making it perfect for late-night dancefloors. On the flip, 'Why' pushes the vibe further with its driving bass and captivating rhythm, before the 'Why Dub' takes things into a more experimental realm, adding even more dubby space and hypnotic elements.
Review: If we had a pound for every hush-hush Sade remix or re-edit we'd heard over the years, we'd likely have enough to fund a night out - or at least a light lunch at an overpriced London restaurant. This one comes from - surprise, surprise - a mystery artist, on the freshly minted Illegal Paris rework imprint. It sees our shadowy hero give his, her or their take on 1984's 'Hang On To Your Love', re-framing the classic cut as a smooth, subtly nu-disco tinged slab of warming deep house excellence built around a rising and falling bassline, crunchy drums and tech-house tinged electronic flourishes. The superb full vocal A-side version comes accompanied by a dancefloor dub style 'instrumental'. This features occasional vocal snippets and loads more spacey synth sounds.
Review: For those of a certain age, Gwen McRae's "All This Love That I'm Givin" will always evoke memories of Cassius' French Touch classic "Feeling For You", which sampled it heavily. It remains a killer record in its' own right, though, as this timely reissue proves. Originally released in 1979, it sees McRae at her powerful best, delivering a potent message to an errant lover over a killer, low-slung disco-funk groove. It's one of the tracks that should really be in any discerning funk, soul or disco DJ's collection. Flip for original B-side "Maybe I'll Find Somebody New", a breezier chunk of laidback soul with a slightly Southern lilt. It's good, but pales into insignificance compared to the brilliant 'A' side.
Review: Jambonne is the studio alias of Another Taste, and here he returns to Space Grapes with a double A-side scorcher following the underground buzz of 'Carpet Ride.' This new 45rpm delivers two no-nonsense disco-funk jams primed for peak-time play an packed with infectious grooves, tight rhythm sections and vintage production that ensures both of them are instant dancefloor essentials. There's no filler here, just pure, unfiltered funk energy which means that fans of Space Grapes' analogue aesthetic will have plenty to enjoy while newcomers will quickly understand the hype. This is raw, modern boogie at its best.
Review: Talking Drums return with Volume 8, another leftfield disco delight from the Manchester-based crew known for their genre-hopping, floor-filling edits. This latest 12" twists vintage grooves into fresh, club-ready energy, blending Euro-NRG, deep disco cuts and Balearic euphoria with their usual offbeat charm. The A-side, 'Fever Dreams', is a full-throttle, sweat-dripping workoutisequencers throb, horns wail and twin basslines drive the track forward with an unrelenting urgency. A cheeky vocal and a breakdown primed for peak-time chaos make this one irresistible for late-night mischief. On the flip, 'Too Hot' dials down the BPM but keeps the heat on, its laid-back disco strut laced with silky strings, funky breaks, and shimmering Rhodes keys. Then there's 'Maximum Balearic Dancer', a sun-soaked closer that takes a fragment of Swiss fusion and transforms it into a hypnotic, flamenco-tinged groove, complete with breezy synths and a soaring piano solo. With their latest releaseiexpect this one to become a secret weapon for DJs who like their edits playful, punchy and a little bit unpredictable.
Review: UV & Nenor link up once more and return to Fossils with three new edits that take the form of spaced-out deep cosmic chuggers. These are all classy tunes with an analogue edge, great deference to the classic synth sounds of days gone by but all with nice modern touches. 'Space Love' is a widescreen odyssey with sultry female vocals and a sweet theremin sound. On the flip, 'Shwag' has hazy pads and slowed down, rugged, sleazy drums and bass and then last of all comes 'GoGo Stomp' with another bubbly bottom end, squelchy bassline and weird but wonderful vocal sounds. A brilliantly high-grade addition to your record back.
Before I Let Go (Homage To Gail Sky King) (Mr K 7" edit) (5:40)
Hollywood Message (Mr K 7" edit) (5:16)
Review: Mr. K has an amazing knack for knowing what will fill a dancefloor, and it's hard to imagine this pair of tunes causing anything less than a roadblock. On the A-side, he pays tribute to beloved NYC DJ and editor Gail "Sky" King by recreating her extended edit of the Frankie Beverly and Maze sureshot 'Before I Let Go'. The edit arrived a decade after the original surfaced on the best-selling 1981 Live In New Orleans LP, although the track was not actually a concert recording but a new studio track made to fill out the final "D-side" of the release. Alas, the gorgeously danceable funk/soul hybrid was pressed at low quality, the harsh sonic nature meaning it never got the support it truly deserved. It comes here backed by 'Hollywood's Message' from legendary hip-hop pioneer DJ Hollywood, a self-released single from the man who was one of the first to grab the microphone at a jam and rhyme over records. As a backing track for his rhymes, Hollywood took a shortcut and used the renowned 'Love Is The Message' edit created by Mr. K that repeatedly runs the groovy clavinet break from MFSB's tune. Here, Mr. K tightens up the instrumental chant version for its first 7" release, adding a touch of Millie Jackson's 'Now That I Got Your Attention Again' as an intro. Two slices of absolute gold.
Review: Former Paper Recordings artist Sophie Lloyd apparently started working on "Calling Out" whilst gripped by the January blues. Her intention was simply to make "happy music". To that end, she turned to her gospel roots. The results, shared here on 7" single for the first time, are little less than spectacular. With collaborator Dames Brown in tow, Lloyd's vocals - accompanied by a gospel choir, of course - simply soar above a jaunty, piano-heavy track rich in live instrumentation. It sits somewhere between traditional gospel, house and disco, with a flipside instrumental brilliantly showcasing the quality of the instrumentation throughout. The piano solos, in particular, are breathlessly good.
Please Don’t Stop The Rain (Ron Trent remix) (4:14)
Please Don’t Stop The Rain (Ron Trent dub) (4:09)
Please Don’t Stop The Rain (ASHRR Soundsystem instrumental) (5:06)
Please Don’t Stop The Rain (ASHRR Soundsystem remix) (6:23)
Review: LA-based band ASHRR picked up plenty of new fans with their recent Sunshine Low album and now they're back with the sixth single from it and it comes with some seriously heavyweight names on the remix. Chicago house pioneer Ron Trent does his thing to 'Please Don't Stop The Rain' by going super deep, spine tingling and heady with some lush arps and distant guitar twangs adding a Balearic feel. Dub treatments come from the Prescription boss himself, while ASHRR's alter ego, ASHRR Soundsystem, offer up an instrumental and a remix that lay down dubby house drums and lush chord work. This one keeps the summer vibes going well into winter.
Review: After the roaring success of his last outing here, the '3 Woman EP,' Art Of Tones is back on GAMM with a 12" that brings male ovals to the fore. They are all very different in style but all highly effective. 'International Truth' opens with strident and funky disco drums and noodling guitar lines with soulful tones lighting up the beats. 'Don's Expensive Afro' is a rework of a rare Afro-disco track with more expressive vocals instructing the floor to move. Last of all is a stunning reimagining of an overlooked Stevie Wonder gem, 'Stevland's Run', which is off-balance and unusual funk madness laden with psyched-out guitar work.
Review: Exotic Illusions marks the debut album of Sydney-based duo D.D. Mirage, delivering a multifaceted blend of global sounds through a distinctly antipodean lens. Drawing from their background in the indie-psyche and punk scenes, Josh Dives and Disky Dee have crafted a record that is as much about atmosphere as it is about movement. From the opening track, 'Exotic Illusions (Feat Hotel)', the duo's signature approach to Balearic, disco, and funk takes shapeiits infectious rhythms paired with tropical melodies evoke the feeling of both familiarity and foreignness. The Neapolitan funk influences are most evident on 'So Hot', where the rhythm section, recorded with the help of Daniel Monaco and Andrea De Fazio, drives the track forward with a punchy, danceable groove. Meanwhile, 'Piranesi' infuses a South American shuffle into boogie, layering it with smooth percussion and fluid synths. The collaboration on 'Antenna (Feat Jofi)' channels '80s drum machine bossa nova with a certain European elegance, while 'Feel It' pulls the listener into a laid-back, sunset-driven groove that gradually shifts into the lighter, more experimental textures of 'Cat's Cradle (Feat Jermango Dreaming)'. On tracks like 'Livin' Upside Down' and 'Night Time (Feat Private Joy)', D.D. Mirage explore an Aussie flavour within the sonic blend. 'Night Time', with Private Joy's smooth street soul vocals, delivers nocturnal warmth, demonstrating the duo's uncanny ability to merge genres and influences into a distinctive whole. The album's diverse set of tracks highlights not just their broad musical influences but also their nuanced ability to make each track an immersive journey.
Review: Serge Funk from Ancona in Italy, a name increasingly uttered in hushed tones within the disco and funky house edit community, unveils two formidable floor-fillers. 'Groovy Theme' and 'Cherry Bomb' showcase his remarkable dexterity in transforming familiar samples into dancefloor weaponry, expertly prioritising rhythm and groove over tired tropes like vocal hooks and predictable melodies. Funk's edits are laser-focused on DJs and discerning dancers, their stripped-back arrangements and undeniable energy cutting through the noise. 'Groovy Theme' builds with a patient intensity, its intricate percussion and swirling synths creating a palpable sense of anticipation before unleashing a groove of undeniable power. 'Cherry Bomb', on the other hand, is a detonation of pure dancefloor dynamite. Its propulsive bassline and fragmented vocal snippets are deployed with surgical precision, a masterclass in controlled chaos. This release confirms Serge Funk's position as a rising force in the edit scene, his ability to transform familiar sounds into something fresh and exhilarating marking him out as one to watch. Expect to hear these cuts dominating discerning dancefloors for months to come.
Review: JKriv returns to Razor-N-Tape after two years away and in that time it is clear to say he has further fine tuned his sound. This latest offering kicks off with 'Blueprint' which is a nice loose sound with elastic acid lines and bright chord stabs. 'Intuition' (feat Megatronic) slows down to sun-kissed and lazy swagger with soulful spoken words and cuddly pads and soft shakers all soothing you to your core. 'Zone 1' then kicks on with a nice bright blend of nu-disco colours and soft acid undulations and 'Paula's Dance' (feat Pauha) closes with some steamy and timeless house that is perfect for sunset sessions.
Falling Feels Like Flying (feat Kabusa Oriental Choir) (5:19)
Don't Understand Ya (feat Tyler Daley) (3:38)
Bad Trip (2:17)
24 (Turn It Up) (feat Kurtis Wells) (5:51)
Can't Let It Go (feat Tyler Daley & 3DDY) (2:54)
Simple Rules (feat Kurtis Wells) (4:22)
Here For You (feat Leven Kali) (2:19)
Livin In A Dream (2:33)
Set It On Fire (4:37)
6 Am (6:21)
Review: ANOTR turn the page on a bold new chapter with their second album, now out via their No Art imprint. Stepping out from their club-rooted origins, the duo now embrace a genre-spanning sound, weaving through shimmering disco, hypnotic alt-soul, raw post-punk, kosmische, and uplifter indie dance. Ahead of a global tour, the duo took refuge in psychedelic retreats in Ibiza, LA and the Netherlands, channelling the freedom unlocked in the act of microdosing psilocybin mushrooms. The revelations hereinafter steered them to using live instrumentation, as well as their first ever recorded vocals on key tracks like 'Set It On Fire', 'Care For You', 'Bad Trip' and 'Living In A Dream.'
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