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.
I Love You More Than Mysel (feat Rome Fortune) (5:19)
Spaces (feat Noemie, Mowgli) (3:25)
Review: Parisian house music producer and artist Agoria (Sebastien Devaud) channels his delight at the 20th Century so far into a new album, theming it after illumination and individual self-becoming. In a rare case of an artist penning a short LP-accompanying manifesto - doubling up as a thankful testament to the opportunity to travel the world for the past 30 years, and to experience the richness of diversity in sound and culture - Agoria is quick to wax spiritual: "the metamorphosis is coming", "the light that chases away the shadow". Building on the now towering Detroit-influenced house and techno discography amassed since 1999, Unshadow is a feature-packed compendium, bringing a newfound, downtempo, graceful serenity to the artist's already varied discography.
Review: Many Hands is a fresh label helmed by Jona Jefferies and Kava that here kicks out an eclectic EP with four tracks from various members of its musical family. Dan Aikido opens with '0800 TXT4 Herb,' a smooth fusion piece that builds a laid-back groove, blending fretless bass, jazzy keys and soulful vocals all reminiscent of Rare Silk's 'Storm.' Ernie Ruso's 'Stroke It' offers slow, sensual r&b infused with P-funky wah-wah effects while DJ Nomad's 'African Boy' brings upbeat pop house next to funky organ and a female reggae MC.Jefferies' closer 'A Change Will Come' samples Dr. Martin Luther King Jr with a rave-inspired beat and soulful piano. Cracking stuff.
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: Montreal producer and keyboard maestro Anomalie offers a full-MOT servicing of funk-jazz on 'Velours', a choice track that presaged his 2018 EP 'Metropole'. Born of a chilled bedroom jam, the first iteration of this track was uploaded to YouTube in 2017, and utilised stacks of Yamaha pianos as well as sleek, sexily designed sample pads. Anomalie provides a rich, honeyed set of chordophonal can-cans over nothing but a swung backbeat, bringing seemingly boundless phonic fruition from little nutrient. Now the song hears a full reproduction and repackaging in vinyl form via Devins 7s.
Review: When Danilo 'MCDE' Plessow and Bobby van Putten established their Space Grapes label last year, it was their stated intention to present 'the best in contemporary live dance music'. What they meant, we suspect, was releases like this debut album from van Putten's Another Taste combo - a four-piece whose colourful and sonically authentic sound rooted in boogie, 80s electrofunk and obscure, private press disco. The results are undeniably impressive, sounding something like a long-lost album from 1983 - complete with kaleidoscopic synths, soulful vocals and killer basslines - of the kind that dusty-fingered crate diggers consider a 'holy grail'. Highlights include the Plessow co-produced boogie brilliance of 'Anything You Want' and the funky bassline driven mid-tempo disco-soul of 'Time Is On My Side'.
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.'
Review: Arp Frique & The Perpetual Singers come together for this most personal gospel funk album which was inspired by the birth of Frique's daughter, Jesamy. It finds the Amsterdam-based multi-instrumentalist mixing up organic funk with obscure synths, bubbly basslines that are always on the move with swirling guitars that add the colour and all make for an unusual and interesting mix of P-funk and gospel-disco. There are plenty of universal messages throughout which all emphasise the need for unconditional love while legendary vocalists like Dennis Bovell, Muriel Blijd, Mariseya, Brandon Delagraentiss and Rocq-E Harrell contribute to the powerful sound. Delagraentiss's choir, The Gospel Experience, also do their bit by adding big, rich, heartfelt vocals. It's quite the listen.
Review: This Vincent Arthur album is a tribute to his daughter Vivian and was crafted by talented musicians from Africa, the Caribbean and Germany. Once obscure for 30 years, its standout track, 'Travel With The Music' became an anthem after making a high-profile appearance in a Dekmantel set where its euphoric afro-disco sound really made a lasting mark. Online sleuths uncovered its origin which has reignited interest in this hidden gem, which has been remastered by Frank at The Carvery. It revives three key tracks in 'Travel With The Music' which shines with afro, disco, and gospel-like euphoria. 'Afro Disco' brings playful energy while 'Jubilation' closes the night with deep, celebratory vibes.
Don't Make Me Fall In Love (Timmy Regisford vocal mix) (9:16)
Don't Make Me Fall In Love (Timmy Regisford instrumental mix) (5:46)
Don't Make Me Fall In Love (Timmy Regisford Gerd Janson Bass Beat edit) (4:16)
Review: Timmy Regisford's remix of Basic Black's 'Don't Make Me Fall In Love' squarely pegs the former's vision in dance music: a fusion of uptempo soul with clear lyrical locutions and sharp grooves. As vice president and A&R at Motown, Regisford played a crucial role in the success of Basic Black's 1990 debut album, a hallmark of the new jack swing era. In his rework, the iconic DJ and co-founder of Club Shelter reimagines the track through an unmistakable New York dance lens, preserving it in the oral traditions of soul and bassy, ballroom house. Formerly a rare white label, this remix was originally exclusive to New York's DJing elite, and never officially released as a single until now. Restored from a DAT tape in Tony Humphries' archive, this rewrap includes a never-before-heard instrumental version and a bass-and-beats-only edit, cryopreserving Regisford's jackin', frosty touch.
You Could Be More As You Are (Super Disco mix) (5:07)
You Could Be More As You Are (Bleep mix) (2:59)
Review: For the unaware, Saada Bonaire's 1984 gem 'You Could Be More As You Are' is the very definition of a cult classic. Known for offering a chugging blend of new wave, leftfield synth-pop and post-disco dancefloor nous, it was produced by an obscure German DJ and fronted by two female vocalists. Those singers have now joined forces with producers Jens Mahlstedt and Ralph 'von' Richthoven to deliver a 2025 remake. It's presented in two distinctively different forms. On the A-side, we get the 'Super Disco Mix', a driving, bass guitar-driven affair that mixes replayed elements of the 1984 original (including some of the spellbinding synths) with clipped disco guitars and freshly recorded vocals. The flipside 'Bleep Mix' is not an early Warp style re-build, but in fact a slightly more electronic-sounding dub disco version.
Review: French disco singer Maeva Borzakian delivers a stupefying pair of electro-soul tracks to Six Nine, expanding on early feedings on 80s soul and Anglo-Saxon pop for a fresher modern twist. Raised in Paris among jazz musicians, Borzakian rejected the tutelage of her family in favour of self-taught disco productions and performances, which led to her building a career as a resident performer in her home city's many clubs and bars, studding the casts of over 20 different band projects so far. This limited UK press bottles the new and exclusive track 'Hey You' - a synth tomming wake-up slap that exhorts the bad actor in an earlier, controlling relationship - and a T Groove remix of 'You're My Ecstasy', an emotive loller with a finito feel and a drive towards empowerment.
Review: Charlie Charlie's 'Save Us' is a track brimming with raw emotion, and Mondag's remix feels like a perfect counterpart, bringing a subtle touch of melancholy with its soft saxophone solo. The track maintains its weight, but Mondag's approach gives it a dream-like quality, coaxing out the depths of its aching beauty. Bella Boo's edit brings a noticeable shift, tightening the rhythms and infusing the track with a sharper energy, but it never loses the soul of the original. Gerd Janson, meanwhile, offers an ambient version that feels like an entirely different experience - less immediate, but no less absorbing. On the other side, Hypernatural's remixes expand on the dreamlike, almost otherworldly feeling of the originals. Knightlife's take on 'Spirit Walk' stretches the song's already fluid nature, making it feel weightless, while Gerd Janson's remix of 'Stormfront' adds a darker, more reflective mood.
Review: In the late summer of 2019, DJ Rocca and Chris Coco spent time together at the intimate La Casella festival in Umbria, Italy, where they chatted about Italo disco, the Rimini/Riccione riviera in the 90s and classic Italian clubs. Inspired by their conversations and imagined memories of scenes they weren't part of, they set out to make the music which over time, evolved into CocoRocca DiscoTeca, an imaginary retro-futuristic club blending past influences with future possibilities. It draws on dub, house and disco and is now resented on this wonderfully escapist full length which starts slow and dreamy, raises the pulse then slows down to a nice emotive finish. A fine reimagine of some classic sounds.
Review: A long-overdue revival of an underground German gem from 1984, Jurgen Grah and Markus Kammann crafted a sound that fused early new beat, synth-pop and electro with a sharp sense of groove. Collage's 'Mit Den Puppen Tanzen' resurfaces as making it a hidden treasure for fans of forward-thinking dance music. The title track is a sleek blend of disco and electro, layering pulsating synths over a club-ready rhythm that still feels ahead of its time. 'Schwarze Nacht' twists post-disco elements into something funkier, reinterpreting familiar grooves with fresh energy. 'Harter Film' leans further into an edgy new wave sound, its electro beat driving a tense yet undeniably danceable atmosphere. Balancing underground cool with accessible hooks, this is a record that effortlessly bridged electronic experimentation and dancefloor appeal. A vital listen for those who appreciate the history of an exciting time between post-disco, house music and the 80s new wave sound.
Review: Cllignon is back with more musical adventuring in the form of Bicicleta, a new album recorded during their last summer tour. As such it does a fine job of capturing the band's live energy but also dives deeper into their sound where you will find a melange of nice sunny grooves, deft psychedelic guitars and sharp keyboard riffs. The album spans multiple influences from the Maloya rhythms of 'Fonker la Mer' to the Brazilian groove of 'Vai Vai Vai (Into the Stars).' Recorded while Jori spent a year in the Netherlands, it celebrates cycling as a symbol of freedom and adventure and certainly travels far with each piece adding up to a fine story overall.
Review: This evergreen favourite gets another reissue, this time on coloured vinyl. Cool Million's 'Tonight' featuring the legendary Glenn Jones mixes up lush 80s soul and funk with a modern twist. Jones's soulful vocals seamlessly float as he serves up smooth lyrics that perfectly complement the infectious groove crafted by Cool Million. There's a nice balance of nostalgia throughout as retro influences kiss up with modern production which means that the tune carries a timeless appeal and always stands out in any set. This remains a must-cop, especially as we head into summer.
Review: 'One of a Kind' expands Cool Million's sound and marks a new direction towards a more diverse boogie funk style ahead of a much anticipated new full length which is due to arrive next year. This latest dancefloor hit features Seest, a Danish soul singer and longtime collaborator, while the tune blends funky, jazz-infused boogie that draws inspiration from artists like Earth, Wind & Fire, Kool & The Gang, and The Crusaders. It boasts powerful horn arrangements, rich chord changes and driving basslines with an up-tempo power-funk groove at its finest. This single serves as a great taste of the album to come.
Right Here Right Now (Opolopo instrumental remix) (5:12)
Nothing But Love (DJ Friction vocal remix) (4:07)
Review: On his 2023 Soul Fiction album, Berlin scene stalwart Cosmo Klein utilised a wide range of high-quality jazz musicians, recording their contributions in a campervan he'd turned into a mobile studio. Pal Daniel Best was impressed, so has decided to get the best tracks from the LP remixed. On this tidy four-tracker, we're treated to a rubbery, disco-fired interpretation of 'Nothing But Love' by Art of Tones, a propulsive dub-blues take on 'Life Back Now' by Freerange Records regular Philippa, and vocal and instrumental takes on 'Right Here Right Now' by man-for-all-seasons Opolopo. He naturally delivers the goods, wrapping P-funk and boogie influenced synths, snaking sax lines and jazzy piano motifs around a heavy electronic bassline and loose-limbed deep house drums. A genuinely superb remix package all told.
Review: Five years after unfurling their first collaborative album, Iron Curtisn and Johannes Albert have finally got round to recording and releasing their fourth - three years after its predecessor landed in stores. As with previous sets, it's loosely inspired by all things lunar. In practice, that means hazy, spacey synths aplenty, slowly unfurling grooves, and loads of cosmic intent. Beginning with the soft-touch headiness of 'Void Gathering', the German duo flits between moon-lit, synth-powered nu-disco ('Silverclub'), jaunty analogue house ('Sound (The Feels)'), warmer and more tactile dancefloor gold ('Ohne Dich', 'Club L'Avenir'), bubbly electro ('Pipeline'), revivalist Italo-disco ('Into Somethin') and ultra-deep bliss ('Daso').
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.'
Review: Italian Dandolo makes a bold solo debut, taking us on an adventurous sonic journey from the Adriatic coast to the distant shores of Thailand. The track pulses with the vibrant energy of Italo Disco, blending infectious melodies with rich, tropical rhythms. There's a sense of escapism here, capturing the allure of a sun-soaked escape, while the production stays firmly rooted in the glistening sounds of the 1980s. On the flip side, Cosmo Dance delivers a remix that is pure dancefloor gold. The dub version leans into Eastern-inspired motifs, nodding to the golden age of Italo Disco with its deep basslines and shimmering synths. It's a track designed to move bodies and keep the energy high, elevating the original's already infectious vibe. This release is a fantastic chapter in Dandolo's evolution and showcases Mirella Records' dedication to preserving the essence of classic Italo while bringing fresh energy to the scene.
Review: The Extra Soul Perception label held a first ever writing camp in Nairobi in 2019 and Lynda Dawn was one of the pupils. She has already released 'Roses' on the label's New Tangents...Vol. 1 EP with other music from the UK, Kenya and Uganda. But this was the standout track so now it makes its way to its own 7". It is the sort of heart achingly beautiful slow motion disco-soul that will be perfect end of the night send home or early evening warm up for more cosy dance floors. There is a slightly more beefed up version from XL Middleton to complete this tidy 7".
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: Pierre-Alexandre Busson, a producer known for his multifaceted talents in both music and photography, steps further into his Destiino alias with a darkly ambient collection that stretches across downbeat house, industrial electronica and melancholic disco. Having made his name in the world of French electro, Busson's transition to Destiino was marked by an exploration of improvised compositions following his participation in a sound installation at the 57th Venice Biennale in 2017. This shift from his previous styles allowed him to dive deeper into moody, atmospheric landscapes. The current project, released under CHLOE's Lumiere Noire imprint, comes as a continuation of this artistic exploration, breaking from the dancefloor-driven energy of his past work to embrace a more introspective and expansive approach. Opening with 'Yokohama,' Busson sets a pensive tone, layering soft synths over a minimalist beat. 'My Crush' follows with a reflective yet upbeat mood, while 'Somlake' (feat. Inigo Vontier) weaves light, meditative textures. 'Transe Has No Speed' dives into dense atmospherics and 'Imagery' introduces a rhythmic, bodily groove. The second side offers 'Musique Electronique Repetitive,' using looping motifs to create a trance effect, while 'La Houle' brings fluidity and 'Morning Routine' soothes with its gentle vibe. 'Pulsar' (feat. Inigo Vontier) pulses with cosmic rhythms, and 'No Pain' closes with a melancholy, reflective note.
Review: Originally released in 2017, 'All Night Long' now gets a well-deserved vinyl release on 7". A tribute to the golden era of funk and disco, this release perfectly captures the electrifying energy of the early 80s while keeping things fresh for modern dancefloors. 'All Night Long' is a shimmering fusion of funk, soul, disco and electro, dripping with nostalgia. The groove is infectious, with crisp drum machines, funky basslines and synth stabs that instantly bring to mind classics from the likes of The Whispers or Shalamar. It's the kind of track that oozes retro charm but remains undeniably timeless. On the flip, 'Funkin On The One' shifts gears into a deep funk workout inspired by legends like Zapp & Roger and The Gap Band. Heavy slap bass, talkbox vocals and tight rhythms make this a certified dancefloor bomb, embracing the spirit of 80s funk with authentic precision.
Funkin On The One (feat Funkin' On The One) (4:42)
Review: These are two proper old school dance floor heaters from DJ Friction - yes, the very same - who in 2017 debuted his boogie and modern funk project, Ground Control, with first album Boogie Some More via Sedsoul Records. The glorious tunes feature vocals from David Whitley, Tansy Davis, Adriano Prestel, Ciaan, and Talkboxers Sin2 and CJ and now two tracks from the album come on this exclusive 7". This marks the beginning of a new era for DJ Friction who launches Soulsonic Recordings. Both of these are two more colourful and charming neo-boogie bangers with rich licks, bold basslines and irresistible funk.
Review: The debut release in a new EP series from Bordeaux's Monomoods label, ordained for nu-disco and Italo disco lovers. The label call on four resident producers - Doctr, Brian Ring, Astore, and Hysteric - to each deploy their very own dancefloor finesser here. Ensuring maximum satisfaction at a near constant drip-fed rate, 'Boxer' and 'Open Secret' bring us nonstop synthy, glam-glittered gusto; the latter track is special indeed, and a highlight of ours. The feeling of pure glee is tossed asunder by the B-side, however, with 'Mandarin Energy' bringing profound chord-data to an anomalistically expansive mood, and 'Adventure' fitting perfectly as the lighter, but still heavy, gated-snared Italowave number of eclectic choice.
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.
Review: Funk, soul and boogie foundations are relaid, with this standout 7" record from 2023 reissued through the same outlet, Boogie Back. With authorial stylishness and pelvic passion, Ernie & The Family McKone have been going ever since the eponymous Boogie Back founder first began releasing underground dance music and street soul in 1992. After a mid-noughts hiatus, he is back with a fresher soul delight, charting the smoother soul directions he's reoriented himself in in recent years. Slick basses and fire falsettos charm up this puree of sound, as Lex Cameron and Valerie Etienne each compel us to move closer inwards: 'Feels Like I'm In Love', with its titular refrain, mirrors our reaction to the music.
Review: Boogie Back Records have been going consistently since the early 90s, serving as a rare case of a label whose relentless output helps blur the lines of "boogie" and "neo-boogie". And while an increasing sanitation of sound might often be associated with most generic "neos", Ernie & The Family Mckone prove this wrong on their latest 7", 'That Girl', whose sound is as tight yet live as ever. Fronted by Boogie Back label owner, singer, producer and guitarist Ernie Mckone (aka. "The Great Ernesto"), this record is a family affair in aspirate vocals and finger-clicking beat bounces. The A-side hears Mckone aim to relieve a lover from pain by keeping a secret, and the B slangs lower on a near-variation of the same beat, albeit the lyrics carry a deep saudade.
Review: To celebrate the 35th anniversary of this iconic album, it has been reissued on vinyl in various colours including this organ neon sizzler. Come Away with ESG was the groundbreaking debut from the Bronx-based sister group and is recognised as a genre-defying classic that played a pivotal role in shaping hip-hop, house and post-punk. ESG's minimalist funk, stripped of horns and heavy organ, offered a fresh take on the genre. Decades later, their impact is undeniable, influencing artists across multiple styles. This album is a testament to the power of rhythm-not just in the beats, but in the spaces between them.
Review: To mark the 35th birthday of this album it has been reissued on vinyl in different colours, so take your pick. As any funk lovers will know, Come Away with ESG is the Bronx sisters' pioneering debut album and a genre-blurring masterpiece that is accepted to have very much helped shape hip-hop, house, and post-punk with its signature minimalist funk. ESG's raw, stripped-down approach offered a fresh alternative to traditional funk in that it was free of horns and heavy organ. Decades later, their influence remains undeniable and has inspired countless artists across multiple genres. This record is all the proof you need that the magic of rhythm isn't just in the beats-it thrives in the spaces between them.
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: Berlin crate-digging Music Take Me Up (MTMU) have - like their city compatriots Sound Metaphors - got a great track record when it comes to unearthing and reissuing genuine gems. The label's latest missive falls into this category. 'Douz Douz', a kind of Arabic post-disco dancefloor workout, was first featured on the B-side of vocalist Fatima Makdadi's sole 1984 single, 'Qui A Aime Amera'. Featuring a blend of Western and Middle Eastern instrumentation, synths aplenty, infectious grooves and ear-catching lead vocals, it's is an undeniably slept-on gem. This reissue - the song's first appearance on 12" - also boasts an extended, club-ready re-edit by the MTMU crew that teases the track out to five and a half spellbinding minutes.
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: London-based duo Franc Moody is made up of Ned Franc and Jon Moody and thesis their third studio album. Chewing The Fat marks a fresh chapter for the duo and is packed with unusual and interesting sounds made with mellotrons and drum machines. Across the course of the disco odyssey, it captures themes of adventure and enchantment and reflects moments of excess before recognition of being grounded by reality. In other words, it is a great summation of life's highs and lows in musical form.
Review: Following a pair of well-received albums on Juicebox Recordings (not to be confused with A Guy Called Gerald's 1990s label of the same name), self-styled "nu-funk" duo Franc Moody have transferred to Night Time Stories for the release of new album Chewing The Fat. Like its predecessors, it blends a left-of-centre, Hot Chip style sensibility with colourful and nostalgic synth sounds, disco strings, good grooves and nods aplenty to both 21st century electronica and the Halcyon days of synth-funk in the 1980s. The results are frequently superb, with highlights including the throbbing-but-sparse 'Square Pegs In Round Holes', jaunty opener 'Driving On The Wrong Side of the Road' and the blissful, tactile and string-laden nu-disco bounce of 'Bloodlines'.
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