Review: Well, here's something to raise the spirits: a first new 12" from Frank Timm's Sound Stream alias for three years. Those familiar with the German producer's work will know exactly what to expect, namely delicious disco house cut-ups that turn selected loops from largely forgotten gems into insatiable dancefloor gold. A-side "Bass Affairs" is particularly good, delivering a perfect blend of sun-kissed Brazilian guitars, rubbery slap bass loops and lilting Rhodes chords (all accompanied, of course, by thunderous kick drums). There's a more traditional disco-house feel about the filter-heavy "Sweep Magic", while "Starstrike" is a throbbing, stripped back affair that makes great use of looped-up bass guitars.
I Want You For Myself (KON extended remix) (10:40)
Review: Acclaimed crate-digger turned disco re-editor KON has decided to launch his own reissue imprint, Kontemporary. The idea is simple: to accompany re-mastered original tracks with fresh rubs from the man himself. 12" number one offers another opportunity to enjoy George Duke's soulful, sun-kissed, disco-era jazz-funk bomb "I Want You For Myself". On the A-side you'll find Duke's own impeccable 12" version, with KON's re-edit gracing the B. Having access to the original multi-track tapes has allowed the New York-based producer to not only include an atmospheric, extended intro (a tactic regularly used by fellow rework merchants The Revenge and Joey Negro), but also give more prominence to Duke's superb piano solos.
Review: REPRESS ALERT!: Afrodesia may come on like another dusted down gem from those dedicated detectives at Best, but it is in fact a modern construction from the talented studio trysts of Mystic Jungle and Whodamanny from the Periodica camp. These Italian producers have more than proved their knack for crafting sublime, honey-smooth jams with a nod to the golden studio era of the 70s and 80s, and they're more than up to the task on this killer 12" of heavy funking jams with a dose of boogie and a nod to Ivory Coast disco. It's quite simply perfection, rendered with love and attention to detail, but utterly natural in its feel and flavour.
Review: Those heavyweight funksters at West Loop Chicago are back again with more crucial heat for your boogie bag. This time the mysterious international cabal of edit heads have slipped from City Volts over to Vong45 - a label that may or may not also be under their control. The name tells you all you need to know - seven sweet minutes of luxurious grooves edited with a soft touch to keep the musicality smooth and flowing across both sides of this 7". Anyone who takes the classic '70s sound seriously will be jamming to this - buttery smooth and hot as hell, just how we like it.
Hit It N Quit It (Cratebug & Jamie 3:26 edit remix) (7:33)
Review: Chicago stalwarts Cratebug and Jamie 3:26 were relatively little-known when they joined forces to create this killer rework of Loleatta Holloway's Salsoul classic "Hit 'N' Run" way back in 2011. The interpretation, which laces choice passages of Holloway's impassioned vocal over a loopy and driving house groove reminiscent of Paperclip People's "Throw", first appeared on vinyl as part of Lumberjacks In Hell's now impossible-to-find Chicago Service compilation four years ago. Happily, Salsoul has decided to reissue it on this must-have, single-sided 12". It's more of a remix than a re-edit, and is guaranteed to get things going at peak-time. Basically, it's a banger, and you need it in your box.
(You've Got) That Something (extended version) (10:43)
Dancing Into The Stars (extended version) (11:05)
Review: Boogie badman Leroy Burgess was responsible for some of the greatest disco and electrofunk jams of the early '80s. Even so, few were quite as special as "(You've Got) That Something", a 1981 killer that distilled all that was good about his productions - those distinctive cowbell patterns, life-affirming slap bass, spiraling synths, hard-wired disco guitars and one of his finest vocal performances - in one essential, 11-minute package. As on the original '81 12", it comes backed with the similarly impressive "Dancing Into The Stars", whose melodic bassline is arguably even better than that found on the A-side. If you don't already own a copy of the original pressing, this reissue should be an essential purchase.
Review: Late last year, French imprint Chuwanag launched via a fine compilation exploring the early '80s Britfunk sound (think jazz-funk and electrofunk) in impressive detail. You'll find numerous aural nods to that style on this follow-up, a fine debut single from producer Koji Ono. Check, for example, the sparkling synthesizers, hustling guitars and house-tempo jazz-funk grooves of "So High", the wiggly Clavinet lines, whistling melodies and rubbery bass of "Inner Rhythms" and the luscious, misty-eyed warmth of ear-pleasing mid-tempo instrumental jam "Momoshima". All are exquisite examples of revivalist cuts that boast more than enough freshness and impeccable instrumentation to bear comparison to the records that inspired them.
Review: Destination 78/79: Expansion take us deep into the illustrious back cat of revered boogaloo fusionist Willie Bobo for two of his many fiery delights. Side A is his feel-heavy cult instrumental take on Ronnie Laws' disco classic "Always There" while Side B throws us into the heart of his 1979 album Bobo with gutsy raw soul power (and just a few cheeky funk slap bass twangs for good measure) Two stone cold classics together for the first time on 45.
Review: Since launching back in 2015, the Dewaele brothers' Waffles series has been responsible for some of the best re-edits around. The series' genius lies not in the floor-friendly nature of the showcased reworks - that goes without saying - but in the unashamedly weird and wonderful source material the Belgian siblings choose to play around with. Few will know the original version of "Poland Waffle", a sludgy and sleazy mutant disco workout full of heavy, dub disco style bass, hypnotic drums, alien electronics and a half-sung, half-whispered vocal refrain ("Red light... blue light"). As for "Croatia White", you'll struggle to find a more muscular and mind-altering chunk of post-Italo European disco. In other words, this serving of Waffles is every bit as tasty as its predecessors.
Review: Escape From New York's 1984 cut "Fire In My Heart" has long been considered something of a Balearic classic. Original copies of the Rollerball Records release 12" are hard to come by, though, so this reissue is more than welcome. The original version - all slo-mo electro drums, rubbery dub bass, exotic melodies and intoxicating vocals - is joined by the now infamous Instrumental Dub version, which has been a staple in Balearic DJs' sets for more than 30 years. If that wasn't enough, there's also a chance to savour to woozy, dub-influenced synth-pop of original bonus cut "Won't Be Your Fool".
First Choice - "Let No Man Put Asunder" (Moplen remix) (9:41)
Candido - "Jingo" (Moplen remix) (10:26)
Review: Italian purist editor Moplen gets given the raw stems of two famous Salsoul classics: First Choice's game-changing "Let No Man Put Asunder" and Candido's light-years ahead of time thumper "Jingo". The former gets a little dancefloor edge as the vocal begins to loop towards the end and the groove gains more momentum. The latter remains one of the most driving, physical and addictive tunes Salsoul ever released but with added length and more of dynamic in the percussion. Known for adding little to no additional production, once again Moplen's extensions and rearrangements are done in their most honest form.
Review: Those dusty-fingered boogie diggers with long "wants lists" should be familiar with "Paradise's Love", an obscure 1982 single from one-shot outfit Bordeaux that has been known to change hands online for hundreds of pounds a go. Here it gets the reissue treatment, with the colourful, Prince-goes-AOR disco style original version (track 3) being joined by two fresh remixes. The headline-grabbing treatment comes from KON, who beefs up the bottom end, makes much of the original's carnival-ready touches (whistles and so on), emphasizes the rubbery bassline and extends it to a dancefloor-friendly seven-and-a-half minutes. Equally as impressive is the Fantasy Love Remix, which instead chooses to up the tempo and push up the original version's P-funk sounds.
Pink Family - "Don't Give Your Life Away" (AI-Tone extended mix) (5:00)
Review: Rain & Shine's "Soul Is My Salvation" project is something of an epic: an eight-part series of "dancefloor friendly gospel songs" curated by veteran Chicagoan DJ Tone B Nimble (real name Anthony Fields). This first part - "Chapter 1" - opens with a sublime, gospel style sing-along cover of Sister Sledge classic "We Are Family" that sounds like it was actually recorded in church. It's brilliant, life-affirming stuff. Over on side B, scalpel fiend Al-Tone offers up an extended version of obscure New Zealand group The Pink Family's 1979 cut "Don't Give Your Life Away" - a warm-hearted - some would say righteous - disco workout that's almost as good as the A-side. We await the next volume in the series with baited breath.
Review: Rejoice all serious disco edits heads, we have another batch of highly sought after treatments from the mighty Danny Krivit available here for your delectation. First up is "One Step Back, Two Steps Front", a powerful '80s jam that splits the difference between prime-time soft rock, disco and soul - the power lies in the stirring impact of the vocals to create a truly spellbinding dancefloor moment (as soon as you have the chance to experience one). "Funk It" is a more classically funky work out with a smattering of Hi NRG histrionics to match the heavy boogie of the rhythm section.
Review: Berlin's shadowy Pina Edits collective can usually be relied upon to deliver dancefloor-friendly material that brilliantly breathes new life into fairly - and sometimes very - familiar cuts. That's certainly the case on this must-check seven-inch single, which opens with a brilliant cut-up concoction that brilliantly stitches together loops and grooves from Steely Dan classic "Peg" with head-nodding house grooves and vocal samples from a sweaty disco-funk gem. Arguably even better - if less obviously party-starting - is ludicrously percussive flipside "IBO", which builds slowly via waves of drums before introducing drowsy deep house chords and some decidedly Balearic flourishes.
Akabu - "Ride The Storm" (feat Linda Clifford - Saison remix) (7:21)
The Love Symphony Orchestra - "Let Me Be Your Fantasy" (Dr Packer remix) (7:31)
Joey Negro Presents The Sunburst Band - "Everyday" (JN Disco Re-Bump remix) (7:28)
Art Of Tones - "Flower Child" (feat Anduze) (7:01)
Review: Like its numerous predecessors, 16th edition of Z Records' long running "Attack The Dancefloor" series is packed to the rafters with tried and tested dancefloor treats, most of which have never appeared on vinyl before. First up, Saison tackles Akabu's 2001 classic "Ride The Storm", turning it into a deep, bouncy and rubbery chunk of lilting, string-drenched house goodness, before Dr Packer delivers a subtly tooled-up take on The Love Symphony Orchestra's grandiose and sexually-charged 1978 disco classic "Let Me Be Your Fantasy". Label head honcho Joey Negro provides a superb deep disco rework of one of his own productions, the Sunburst Band's 2004 summer sing-along "Everyday", while Art of Tones' "Flower Child" is a flash-fried, disco-funk romp laden with superb lead vocals from Anduze.
Review: Best known for offering up a mixture of brightly coloured nu-disco and synth-tastic disco-house, Luxxury has always had a lesser-known side hustle as a re-editor and bootleg remixer. It's this hat that he's working on "Luxxury Reworks Volume 2". Up first is "Uh Huh, I Like It", a rolling, house-style revision of a reggae-fired disco favourite smothered in chunky beats and filter sweeps. He turns his attention to a slightly lesser-celebrated disco gem on "Do Ya Think I'm Turkish?", successfully lightly tooling up a Moog-laden Middle Eastern cover version of Rod Stewart classic "Do You Think I'm Sexy?", before unleashing the EP's standout moment on side B. Chugging, tactile and more loved-up than an MDMA-fuelled swingers party, "I'm Petula" is as sweet an AOR disco edit as you'll hear all year.
Falling Deep In Love (Joey Negro 7" Disco Blend) (4:06)
Review: For the last two years, legendary London crew Horse Meat Disco has been teasing the release of its long-awaited debut album via a series of scintillating singles featuring guest vocals from the likes of Amy Douglas and, even more impressively, Kathy Sledge. Here they offer up their second collaboration with the legendary disco diva. "Jump Into The Light" is little less than a tribute to the Chic sound featured on the greatest Sister Sledge records, with Kathy Sledge delivering a typical fine lead vocal over Bernard Edwards style bass, Nile Rodgers-esque guitars and glittering orchestration. Over on side B there's a chance to enjoy Joey Negro's cut-down "Disco Blend" of previous single "Falling Deep In Love", which adds a little house flavour whilst retaining the crew's disco instrumentation.
La Tete Contre Les Murs (Marc Moulin remix) (5:24)
Review: Some years back, Permanent Vacation dipped into the back catalogue of decidedly Balearic synth-pop trio Antenna before offering up a swathe of fresh remixes. Now Discomatin have decided to explore the solo discography of lead singer Isabelle Antena, serving up two rare contemporaneous remixes of 1987 singles by Mark Kamins and Marc Moulin respectively. The former's version of "Laying On The Sofa" is superb, with the Danceteria resident layering her fine lead vocals over delay laden electro beats, warm Rhodes chords, glistening guitars and elastic bass guitar. Moulin's body-popping, synth and drum-machine fired revision of "La Tete Contre Les Murs" is arguably even better and undeniably funkier. It goes without saying that both tracks are superb.
Review: If you're in the mood for some cosmic grooves, wayward disco and pagan psychedelia, Multi-Culti's Cult Edits series is always worth checking. The imprint's latest offering is packed to the rafters with mind-altering goodness. Inigo Voltier sets the tone with "Ti Amo", a Fairlight-powered bounce through post-Italo oddball electro territory with added mix-80s power-pop guitars, before Angelina Amor reworks a sludgy slab of European industrial/new wave fusion. Youkounkoun's throbbing "Cosmic Yoyo" sounds like post-apocalyptic Italo-disco after a fist full of downers, while Asa Moto's "When The Funk Is On" is a funky but undeniably weird electro-industrial cut rich in delay-laden vocal snippets and metallic percussion hits.
Review: Earlier in the year Gerry Rooney and Joel Martin donned the Velvet Season & The Hearts of Gold guise for the first time since 2018 for a typically off-kilter disco edit outing on Resista. Here they flex their scalpel skills once more, offering up revisions of two undeniably deep, sought-after cuts from the margins of the Italian disco spectrum. On side A they take their scalpel to Aldo Tomborelli's 1983 soundtrack number "Voices", a bubbly chunk of obscure horror movie Italo-disco rich in undulating, arpeggio style bass, weirdo vocals and trippy, saucer-eyed electronics. Over on the flip they travel further back in time to 1974 and Stefano Torossi's jostling jazz-funk gem "Having Fun", expertly extending it by flitting between the jammed-out, groove-based sections and the composer's swelling orchestration.
Review: One of disco's biggest divas gets served up on a red hot platter here by Vinylators. "Extended Woman" is eight plus minutes of bubbling, piano laced and string happy disco with the iconic "I'm every woman" vocal taking centre stage over nice clipped drums. It's a tasteful edit that brings all the key parts to the fore. "Piano Woman" is more stripped back, with plenty of emphasis on some busy piano playing and the soaring original vocal left in place up top. "Dub Woman" is more paired back and built on the leggy drums, while plenty of golden strings add real colour.
Review: Fresh from the release of his tribute to hip-hop culture's dancefloor roots, the essential "Disco Rap" single, DJ Moar returns to familiar territory with a guest-packed album of boom-bap beats, blink-and-you-miss-them skits, and deliciously deep rap songs. Moar's backing tracks ripple with warm and woozy instrumental flourishes and jazzy samples, while the accompanying raps, from MCs including Napoleon Da Legend, Dirt Platoon, Sadat X and LS Brigandes, are on-point and entertaining. Such is the all-round quality, in fact, that it sounds like a long-lost set from hip-hop's golden age.
Review: Since 2013 the Florence series of shadowy 12" singles from unknown artists has provided a steady string of contemporary reworks of notable - and in some cases, lesser-known - songs. This time round, the mystery producer involved has set his sights on New Order classic "Blue Monday", with A-side cut "New" delivering a pitched-down, beefed-up revision of the dancefloor classic that comes complete with fresh Clavinet notes and acid style motifs. Over on side B, "Jungle" is a wonderfully sweaty, bass-heavy affair in which the Jungle Brothers Todd Terry-produced hip-house anthem "I'll House You" is turned into a bustling, big room-friendly chunk of arms-aloft messiness.
Review: The Bonfido Disques label comes to life with a strong cast of edit-happy movers and shakers focusing on music from the African continent. Panama Cardoon is up first with the heavy-stomping "Olofofu", which rides a sturdy rhythm section and lets rip with some gorgeous, warm sax and a vocal hook that will get under your skin. Fixed Angles take on "Tabou", a gorgeous high life edit that takes on a supercharged jacking quality thanks to some savvy drum programming. Sirhan gets into a pleasant, piano-backed reverie on "Le Flute", where the titular wind instrument pirouettes over the broken beat with grace and dexterity. Chico & Bianca complete the set with "Anole", a limber and funky number with some carnival spirit in its drums and the most effervescent guitar lines you're likely to hear all year.
Review: Since debuting on Stilove4music in 2012, Brooklyn duo Devin Dare has offered up an irregular smattering of brilliant EPs for the likes of Apron, Misterio and La Mission, including a couple of notable outings alongside London badman Stevie J AKA Funkineven. Here they showcase their scalpel skills via a first outing on local label Razor-N-Tape. They begin by offering an extra-percussive, party-starting revision of a low-slung, turn-of-the-80s deep disco-meets-punk funk affair ("Clash & Burn"), before romping their way through a weighty revision of a high-octane disco stomper ("KOHO2"). Over on side B, "Dust" sees them successfully re-wire a Hammond-heavy chunk of gospel disco-funk, while "Stop" is a pleasingly percussive revision of a soaring disco number.
Breakfast In Space (Charles Maurice dub version) (4:10)
Review: Should you be hankering after some suitably positive music right now - and let's face it, most of us are - then we'd recommend checking out this fine four-tracker from French jazz-funk combo Aldorande. There are two original cuts to choose from: the languid, laid-back and undeniably sunny breeziness of "Summer Body" - all female scat vocals, bustling jazz-funk bass, sweet pianos, two-step beats and boogie synths - and the bolder, more electronic fizz of "Breakfast In Space", which reminded us a little of vintage weather report. Charles Maurice delivers instrumental Dub versions of both, naturally beefing up the basslines and adding a little extra percussive pressure.
Review: There should be no end to the amount of sunny afro disco tunes in your collection. Italian label Samosa are always happy to help with that and this latest outing by C. Da Afro is a perfect collision of soul and funk, jazz and afro styles. Opener "Afro-Disiac"'s horn leads, sultry sax lines and dub disco beats are perfection. "Smoothie" goes further with a bristling and earthy energy conjured by plenty of jangling rhythms and organic percussive sounds before the pumping and celebratory sounds of De Gama's "Re-Groove" of "Brazilian Groove" closes things out in fine fashion. Authentic, lovably loose and impossibly radiant stuff.
Review: The Tropical Disco crew is back with more disco funk from all around the world. Moodena opens up with "Jezebel" with its big horn stabs and knotted bass riffs that will make you move and groove. Sartorial ups the sexy sax, pump the drums and get steamy on "Night Shade" before things take a more cool and breezy turn on the sliding and gliding grooves of Conan Liquid Presents The Crates Motel Collective's "Gotta Scratch". For those who like the big licks, stomping kicks and diva cries, Igor Gonya comes through with some gold to close things out.
Ed Wizard & Disco Double Dee - "Shades Of Blue" (Thatmanmonkz remix) (5:50)
Ed Wizard & Disco Double Dee - "Cantina" (6:21)
Hotmood - "Chico Shake" (6:08)
Hotmood - "El-Artista" (7:04)
Review: Editorial's 28th vinyl outing is a split affair, with label mainstays Ed Wizard & Disco Double Dee handling the A side and Hotmood holding court on the B. Interestingly, the standout of Ed Wizard & Disco Double Dee's side is a wonderfully groovy, synth-sporting deep house re-make of "Shades of Blue" by Sheffield-based Leicester Lad Scott Moncrieff AKA Thatmanmonkz, though the head-nodding, toe-tapping chunk of jazz-funk/instrumental soul that follows it, "Cantina", is also rather good. As for Hotmood, they provide some instant party-starting vibes via the low-slung disco-funk-meets-house loop jam "Chico Shake", before exploring breezier dancefloor pastures via the flute-sporting goodness of "El Arista". In a word: solid.
Review: Given that he was making disco-fired house as far back as the early noughties, Simon Marlin AKA The Shapeshifters is a perfect fit for Defected's disco-focussed Glitterbox sub-label. These days Marlin's productions are closer to "real" disco than funky house, as last year's Salsoul influenced "Life Is A Dancefloor" with singer Kimberly Davis proved. "Second Chance" explores similar musical pastures, with the EP opening club mix layering Tony Montana-esque orchestration and Loleatta-like vocals atop a bouncy beat. Moplen delivers a classic disco revision mixed in a Tom Moulton style, where there's more clarity to each showcased piece of instrumentation, while the Shapeshifters provide a dub mix style "Reprise" that rises and falls in all the right places. A handy, delay-laden acapella version completes a very strong EP.
I Don't Know What It Is, But It Sure Is Funky (Fashion remix) (3:56)
Review: Legendary 70s funk band Ripple are back with two original members making new music again. Curtis "Kazoo" Reynolds & Keith "Doc" Samuels now go by the name of Ripple 2.20 and their first work is a new version of John Edwards' "Exercise My Love." It is a cover, but not as we usually know it - they lay down an incredible new vocal and play the parts with a real sense of sensuousness. On the flip is a new remix of some of Ripple's original material in the form of Fashion's take on "I Don't Know What It Is, But It Sure Is Funky", a raw, dirty, sleazy jam to get you in a sweat.
Peaches Mann - "Get In Rhythm With God's Love" (3:43)
Review: By now, you should be familiar with the "Soul Is My Salvation" seven-inch series, which sees gospel-loving DJ Tone B Nimble showcase some of his favourite gospel-soul, gospel disco and gospel boogie gems. This fifth 45 in the series is just as essential as its predecessors. On side A you'll find Fay Hill's 1981 single "I Know Who You Should See", a languid, jazz-funk era shuffle through glassy-eyed gospel soul pastures blessed with one of the most addictive choruses we've heard this year. Over on the flip there's a chance to enjoy Peaches Mann's synth-heavy, ultra-soulful gospel boogie number "Get In Rhythm With God's Love", a more upbeat affair whose many highlights include killer slap-bass, D-Train style synth solos and an infectious rhythm.
Review: Here's a record perfectly suited to the Emotional Rescue sphere. International Noise Orchestra was born out of a collaboration between Berliner Ulrich Homberg and Algerian drummer Jol Allouche, first embarked on in the 1980s when they sought to combine 'new technology with old'. The results are wonderfully vibrant, evocative of the era but also packed with open-ended experimentation that sounds fresh more than 30 years later. There's a push and pull between the collaborating parties, but the frisson between cultures and methods is where this record gets its unique groove from, all delivered with a slick 80s cool it's hard to resist.
Review: Fresh from a quietly impressive outing on Cardiology, John "Freak D" Devecchis dons the Owl alias once more and offers up another must-check selection of re-edits and reworks. HE begins by cannily rearranging, tightening up and beefing up a flash-fried slab of later James Brown style funk-rock (the brilliantly bluesy, housed-up "Those Kicks"), before turning his attention to a righteous chunk of what sounds like AOR disco/deep disco-funk fusion ("Chance"). "Feel The Power" is a bouncy, piano-sporting revision of what sounds like a late '80s New York house gem, while title track "Boogie Man" is a subtle, house style remake of a jaunty, honky-tonk style rhythm and blues number.
Please Don't Make It Funky (The Patchouli Brothers Re edit) (5:05)
Review: "Please Don't Make It Funky" is one of those delicious curiosities that dusty-fingered crate diggers unearth every now and then. Recorded and released in limited qualities in 1980, it was apparently an attempt by Frank Pisani, then a veteran American singer who had last tasted success in the rock and roll era, to capture the disco/jazz-funk zeitgeist. While it was a commercial flop, the track is undeniably attractive and fun, with squelchy synth sounds, ear-catching horns, fluid piano solos and Pisani's blue-eyed-soul vocals rising above a tidy groove. This surprise - but most welcome - reissue backs Pisani's cheery original with a fresh re-edit by the Patchouli Brothers. This includes some filter trickery and a DJ-friendly arrangement, but otherwise sticks close to the original mix.
Review: We may not be able to gather to dance outdoors under a blazing sun or a blanket of stars, but there's no harm in a little musical daydreaming. That's what the latest multi-artist Ravenelli Disco Club release is all about: summery escapism that comes with a big dollop of rush-inducing disco release. Ethyene sets the tone with the colourful boogie-house fusion of "Let Love" - all twinkling synth motifs, echoing percussion hits, thickset grooves and hazy vocal samples - before Carlo raises the temperature via some jazzy deep house heaviness in the vein of Derrick Carter's "boompty" era. Over on side B, Hotmood's "Magical Flight" is a surging, string-drenched disco-house roller, while Rees' "The Way You Mood" is a tooled-up take on what sounds like a classic Philadelphia International cut.
Review: The people behind the Made To Dance re-edit series keep their cards close to their chest, offering up little information about their identities or aims other than some admirable words about drawing on "different musical traditions going beyond classifications". It would be nice to know a little more, because their occasional releases - and this tidy "45" in particular - are really rather good. A-side "Lothar" sees the mystery scalpel fiends make merry with a Latin jazz number, to which they've added squelchy acid lines and a little more dancefloor weight. Arguably even better is percussive and funky flipside "Bad Bad Puma", a tooled-up disco-jazz number that cleverly blends glistening guitar solos, wild Hammond organs, loose-limbed drum-breaks and locked-in, house-style kick-drum patterns.