Review: Kevin Gorman aka Adesse Versions brings his cut and paste ethos to Brooklyn edit series Razor-N-Tape with a varied pair of heaters. On this wicked two tracker, the label takes it back to their early format of one track per side: and these two cuts can certainly carry it! On this side we've got "Bumpin' NYC" a lo-slung disco classic with that proper New York City vibe, if ya catch our drift? On that side, we have a lovely little number in the form of "Sistem" that flips an afrobeat sample into a dark and groovy club track with even a little bit of acid for good measure.
Review: In the super saturated and competitive scene of disco edits, it takes a lot to differentiate yourself from the pack. Enter New York City's Razor N Tape. What do they bring to the table that is different, you may ask? They offer up what they call 'respectful edits'. Got it? There are the ones you can trust and play with confidence. On this volume they present Al Tone, who are known for their eponymous rework series. The duo comprised of Chicagoans Al Bumz and Tone B serve up some lovely Afro boogie on "Feelin' Irie" and some pitched up soulpower in the form of "Simone Manuel". On the flip, there's a familiar hook on the vocal driven deep disco resplice of "Groovin'" then they take us home with the Theo-esque looped sax and falsetto gallup of "Wishes".
Review: Earlier in the year, Rio de Janeiro-based duo Balako made their debut on Barefoot Beats, sharing the billing with Eddie C on a tasty 10-inch single. The chaps at Razor-N-Tape were clearly impressed, because they've given the Brazilian twosome a 12" on which to showcase their edits. The hit the ground running with breezy opener "Batuque", which sees them add heavy, elongated analogue bass notes and delay-laden drum machine percussion to a suitably summery and glassy-eyed chunk of mid-tempo Batacuda positivity. Elsewhere, "Deixa Acontecer" turns a sweet salsa offering into a throbbing, Italo-influenced delight, while "Honey, Honey, Honey" sees them make merry with a wonderfully low-slung Brazilian disco epic rich in stripped-back bass guitar, druggy synthesizer arpeggio lines and sparkling electronic melodies.
Review: Some six years on from his first edit outing on Razor-N-Tape, Frank Booker returns to the storied Brooklyn imprint with another batch of fire revisions. Leading the charge is the thrillingly low-slung A-side "Be Yourself". This is a driving slab of floor friendly disco that incrementally builds from a spacey, groovy start to a celebratory, string-laden conclusion. Just as good is "More", an elastic disco-funk outing that tightens up and extends a vaguely familiar workout and sounds like the kind of rearrangement that will create pandemonium when dropped at the right time. Finally, Booker dips the tempo considerably on the slo-mo space disco chug of "Starship", perfect for a rooftop boogie.
Review: Chicago Nite Owl Chrissy returns with four more floor-focussed revisions that cater for all chapters of the night. Space jam "Discoglide" is the quintessential party starter, all whistles and crowd chants. "Fix It Man" takes tool-swinging Ragtyme into the future while "Every Person" explores the soulful nuances of Double Exposure with gossamer glee. Finally we climax with the bass-slapping super-strutter "Standing Passengers". A full instrumental rich in percussion and snake-like wah wahs and tightly sprung horns, there'll be standing room only when you drop this.
Review: For their latest journey into re-edit/original production fusion, Brooklyn's Razor 'N' Tape crew has turned to Munich duo COEO, who have previously impressed via fine outings on Toy Tonics and Let's Play House. The four-tracks here, which all blend samples from classic recordings with their own drums and musical flourishes, all sound like guaranteed dancefloor winners. Check, for example, the breezy Afro-beat-goes-disco cheeriness of "Nigerian Affair", the wonderfully rich keys and organic deep house bump of "Pajama Stomp", and the riotous, high-octane disco-house loop-funk of "Long Night Ahead". Best of all, though, is opener "Like It Is", a sweet, dewy-eyed, string-drenched soul revision that achieves the perfect balance between dancefloor grunt, and paying due reverence to the German duo's horn-heavy source material.
Review: Razor 'N' Tape's latest recruit is Peter Croce, a producer previously best known for his blends of deep house and Afro-house on Rocksteady Disco. This time round, he's in full-on re-edit mode, offering up a quartet of tried-and-tested reworks. Those searching for peak-time gold should check opener "Spirit Dance", where Croce teases out a celebratory moment of release by extended particularly percussive passages of a heavy disco gem. Elsewhere, "Proletariat Blues" is a slightly loopier but no less groovy rework of a string-laden disco gem, "Get Up & Boogie" plays around with a punchy and horn-heavy disco-funk anthem and "Made in China" is a pitched-down delight full of crunchy Clavinet lines, sharp horn stabs and mazy synth solos. Superior edits, all told.
Review: On the two releases we've heard to date, Cody Currie has barely put a foot wrong, delivering a string of tracks that brilliantly join the dots between dusty, soul-flecked U.S deep house and hip-hop style sample-based beat jams. For this outing on Razor 'n' Tape Reserve, he applies the same approach to the world of disco and boogie. So, we get the rolling, sun-kissed warmth and gentle filter tweakery of wide-eyed disco house shuffler "Movin' Smoke", the slack-tuned jazz snares, swirling chords and bubbly synthesizer samples of "Infinity I & II" and the swirling, string-drenched orchestral disco-house bounce of "Magic City". Arguably best of all, though, is the more driving "Make Love", where Currie's ability to select and manipulate samples within a bumping deep house framework is best exemplified.
Review: Having got the juices flowing via a split re-edit release with Jacques Renault earlier in the year, Cosmic Kids member Daniel T returns with his first full solo EP of floor-ready reworks. Arguably the most ear catching of the lot is "Trinidad Trouble", a fiendishly percussive, cowbell-laden tropical disco affair blessed with carnival-ready flute flourishes and heavily accented Trinidadian vocals. It sounds like a genuinely sweat-soaked peak-time treat. The hits keep coming elsewhere across the EP, from the "do the Bus-Stop" hustle of Blaxpolitation disco rework "Hit The Streets", which provides a seriously strong opening gambit, to the leisurely, laidback and sumptuous sounds of trumpet-sporting afternoon delight "Penguin Vacation".
Review: On their latest 12", the Razor 'N' Tape crew has looked to Berlin, rather than Brooklyn, for inspiration. As the title suggests, the man at the controls this time round is Oye Records founder Markus "Delfonic" Lindner. He hits the ground running with "The Flow", a deliciously loved-up interpretation of one of the sweetest, baggiest and dewy-eyed disco-soul tunes around. While undeniably floor-friendly, there's no attempt made to beef up the track unnecessarily, with Lindner's addition percussion tending towards the subtle and reverential. Those hankering after something a little sweatier should check the disco-funk hustle of "SPF" (which comes complete with some seriously spacey synth solos) and Lindner's excellent rearrangement of a lesser-known cover of O'Jays classic "I Love Music".
Review: Suave Parisian scalpel-botherer Dimitri From Paris continues to churn out top notch re-edits, slightly altering his famous production persona from label to label. Here, he delivers a second 12" for Razor 'N' Tape under the Dimitri From Brooklyn alias. Like its' predecessor, it features a couple of stone cold bangers. "Right My File" offers a thunderous, housed-up take on a lesser-known cover version of Dan Hartman's grandiose disco smasher "Relight My Fire" - all vocal breakdowns, big builds and big-lunged sing-along moments. As for "I Want Your Back", it re-casts Dimitri as The Reflex, laying down a version of The Jacksons' "I Want You Back" that sounds like it was done from the multi-track parts. It is, of course, dancefloor dynamite.
Review: Razor 'N' Tape's two previous servings of Dimitri From Brooklyn edits (and, yes, they're the work of legendary DJ/producer Dimitri From Paris) were both must-haves, so hopes are naturally high for this third volume. Predictably, the disco-loving Frenchman is on fine form once more, laying down a trio of interpretations that breathe new life into classic jams. While the A-side "Kettle America" (say it phonetically) is something of a cheeky treat - impressively chopping between hard-wired guitar riffs and the original track's bustling disco groove - it's "I Knead You", an end-of-night, lights-up version of a Sylvester cut that smartly emphasizes the song's gospel origins, that really sparkles. "Without Rob", a harmonica-heavy rearrangement of a well-known favourite, completes another essential package.
Review: Back In The Day marks the second appearance from Local Talk regulars Dirtytwo on J Kriv and Aaron Dae's Razor 'N' Tape imprint. Like their last outing, Back In The Day sees them offering up an impressive blend of bumpin' house and filter-heavy re-edits with a heavy emphasis on party starting. While the murky, basement-bothering title track, and Daniel Leeseman's baggier, disco-house rework, are impressive, it's the EP's other two tracks that are really floating our boat. Check, in particular, the string-laden, bass-heavy sleaze of "Last Night", which boasts a spine-tingling breakdown and some decidedly sweaty female vocals. That said, the slower "Estrelar" - a chopped-up, looped, filter-fiddling rework of the Marcos Valle track of the same name - is also rather fine.
Byron Stingily - "Get Up (Everybody)" (Dirtytwo remix) (6:00)
Hageby In Your Eyes (feat Roman Andren) (7:06)
Found Love (6:30)
Ain't The Way (6:34)
Review: Razor-N-Tape welcome in a high grade remix and some original jams from regular contributors Dirtytwo, Sweden's finest contemporary house practitioners. They start with a bang by tackling the evergreen party-starting classic "Get Up (Everybody)" by Byron Stingily, turning the 90s piano house tones to a more modern, jacking tech house style without losing the iconic vocal. Roman Andren pops up for a guest spot on the laid back, jazz-licked "Hageby In Your Eyes," while "Found Love" draws on some familiar vocal tropes for an uplifting, soulful turn. "Ain't The Way" finishes the record off with a choice lick from Foreigner that should get the whole room grinning ear to ear.
Review: Inspired by early 90's house music, Toshihiro Moriguchi aka DJ Monchan has been spinning many genres, as well as producing disco edits and deep house for over a decade in New York City. The Brooklynite steps up to perform some surgical edit wizardy on four mouth-watering tracks for purveyors of the finest quality disco - Razor-N-Tape. Late night boogie down vibes are catered for on the joyous disco gem "Reaction Control", while you'll find something more of a classic soul/funk tip on "Dance It All Out" before getting back to the late-night NYC soirees of the 70s on the sexy vocal-led sway of "Get Down With Your Love". TIP!
Review: Last year, Marcel Vogel dusted down his Em Vee edit alias for the first time in three years, serving up a tasty four-pack of reworks for OYE's ongoing Edits series. It clearly inspired him to make more reworks, because now he's popped up on Razor-N-Tape with another fine selection of scalpel revisions. He begins by reworking a tongue-in-cheek chunk of disco silliness rich in spacey Moog lines and wonky vocals ("You Move Me"), before tweaking and rearranging a superb chunk of Latin-tinged tropical disco ("Spreading Energy"). "Don't Be Sabi Say" is a high-tempo chunk of Afrobeat/Afro-disco fusion full of ear-catching Nigerian vocals and bustling electric piano riffs, while "I Wish I Knew The Words" is a cheeky revision of an obscure Japanese synth-boogie number.
Review: Italian Patrick Gibin is probably most known to you all for his Black Aroma re-edit series, and is also the resident DJ and artistic director of ROOTS Corte Radisi in Verona, Italy: a seminal and unique club. His penchant for deep cuts and dusty reworks find a fitting home on Brooklyn's Razor N Tape - bringing you the most 'respectful' edits, as always. The evocative and sunkissed soul power of "Sunrise" is stretched over the A side, On the flip, "Searching" provides a handy extension of a certain soulful 70s anthem, and "Take Flights" is a well funky boogie-down joint that's looped for pleasure. Re-edits done proper.
Review: Two years on from his first appearance on Brooklyn's finest re-edit imprint, Martin Hayes returns with a second salvo of DJ-friendly disco revisions. The Leipzig producer goes for the jugular from the start, delivering a slightly straightened-out, house-friendly tweak of a celebratory disco gem on boisterous opener "Easy Come Easy Go", before serving up a sizeable edit of a slo-mo orchestral disco groover ("Tiff"). He returns to peak-time pastures via EP highlight "Turn You On", a wickedly up-tempo anthem built around razor-sharp strings, jaunty piano riffs, bustling beats and a seriously good "walking" bassline. To round things off, Hayes delivers "Love Shine", a far warmer and groovier concoction blessed with breezy piano riffs, extended percussion breaks and incessant vocal snippets.
Review: You can say that JKriv and Aaron Dae are big fans of L.A-based Afro-Latin funk fusionists Jungle Fire, as the latest release on Razor 'N' Tape Reserve features a quartet of fresh mixes of tracks from the band's bulging back catalogue. The headline attraction is undoubtedly a pair of reworks by Ashley Beedle and Rob Mello, the original founding members of Black Science Orchestra project, which recently reassembled following 15 years apart. This doubles up as a grand affair as the duo presents their first remix and release since their reunion. They first serve up a wonderfully percussive, analogue bass-propelled deep Afro-house "remix" of 2014 cut "Culebro", before reaching for the delays and delivering an arguably even better dancefloor "Dub". You'll also find JKriv's re-imagination of 2013 single "Firewalker" as a bumpin' chunk of horn-heavy dub disco, while Bosq gives "Village Hustle" a rolling Latin disco makeover.
Review: Brooklyn's Razor-N-Tape reach out to the Lowlands and coax Hans Peeman into donning his Junktion alias for a new four-track 12" on their Razor-N-Tape Reserve label. Living up to it's dignified and reserved billing, this fifth release on the offshoot finds the Nijmegen-based Peeman laying down some luscious, colourful disco vibes that will brighten up any sun laden afternoon on the terrace. Title track "Hot & Bothered" sets the tone with a summery vibe underpinned by some bumping drums, whilst "I'm wishin'" glides with a subtle house bump and some wonderful vocal touches. "Fling Cleaning" sees Peeman veer off into disco chug territory, whilst "Visions of You" ends the 12" on a soulful note.
Icarus (feat 80s Babies - Tall Black Guy remix) (4:57)
Icarus (Moods remix) (5:22)
Icarus (JKriv remix) (4:38)
Review: For Record Store Day 2017 Razor-N-Tape presents "Icarus", a slice of chilled out analogue soul by Lovebirds aka Sebastian Doering with remixes. The original is a deep soul jam reminiscent of Roy Ayers' Ramp project, while the Tall Black Guy's remix gets more of an R&B swagger on in style. We particularly enjoyed JKriv's lush little boogie down rendition, which really hit that sweet spot in all its neon lit glory. Each mix gets its own side in this double 7" pack, with stunning full color artwork, making it a truly special package perfect for both
Review: Given that Juan MacLean has released almost all of his music on DFA, we were rather surprised when this Razor 'N' Tape Reserve 12" showed up. We suspect that these are sample-heavy dancefloor tracks from MacLean's personal stash - the kind of cuts you regularly hear in his DJ sets but have previously not seen the light of day. Check, for example, the percussive peak-time romp that is muscular disco loop jam "Fine Time" and the classic boogie-meets-NYC house fusion of "Don't Stop For Nothing", which tips a sly wink towards Toney Lee classic "Reach Up". Elsewhere, "Everybody Clap" is a dustier, looser and hazier deep house excursion, while "Panic In Fort Greene Park" sees MacLean smother a trippy and hypnotic groove in spacey motifs and acid-style electronics.
Review: Since serving up a tasty debut album back in 2011, Magic In Threes has provided sporadic dose of funk-fuelled delight that variously draws influence from jazz-funk and soul. The three original tracks included on the combo's first Razor 'N' Tape reserve appearance fit this formula, layering up live horns, guitars and drums with loose and heavy results. Title track "Work Tapes" is a Blaxpolitation funk affair with subtle disco flavours, "Come On Down" is an Isaac Hayes style orchestrated disco-funk roller, and the superbly summery "Chupa Cabra" sounds like it could have been made in Brazil around 1979. All three tracks are given the remix treatment, with Patchworks' Afrobeat revision of "Work Tapes" and Fouk's hybrid jazz-funk/disco-house version of "Chupa Cabra" standing out.
Review: Brooklyn label Razor-N-Tape get in on the Record Store Day action with this 10" edition of Beatin Tha Breaks from Nashville-based Magic In Threes. It's the remixes that come first, with Dutch artist Fouk going into similar house territory to Kenny Dope with plenty of live instrumental touches blessing the bristling percussion. It's a totally different vibe on the Freddie Joachem remix, with the Californian opting for some midtempo funk breaks that stay closer to the sound of Magic In Threes' original version . This closes out the RSD release on the B-side and is an easy-breezy affair dripping with soulful guitars and harmonies.
Review: You can always rely on New York's Razor-N-Tape for high quality respectful edits. Cut in Brooklyn, here's another disco killer that is great for dancing - courtesy of JKriv & Aaron Dae out now via their Reserve imprint is Londoner Ali Gibbs aka Nebraska, who tweaks a soulful sample with signature finesse; it's part disco, part house and all vibes on "Usin' Me". Lovebirds then get in on the action to deliver a soulful and bittersweet early Chicago house perspective, the legendary DJ Nature never fails to deliver either and gets properly deep and emotive with his terrific remix. As does Scottish veteran The Revenge on the flip, taking the track into the late night on his stellar effort.
Review: Brooklyn-based Razor 'N' Tape has some serious pulling-power these days. Having already released material from Dirtytwo, Mr V, Loz Goddard, Kraak & Smaak and Fouk, the New York imprint has managed to score an EP from Mister Saturday Night regular Nebraska. Predictably, it's a party-starting affair from start to finish. Bouncy, horn-heavy disco-house A-side "Drill Deep" - a weighty chunk of unashamed peak-time goodness - leads the way, with beatdown-tempo shuffler "Keep On Keeping On" snapping at its heels. This bubbles along tenderly via swirling disco orchestration, before bursting into life midway through thanks to the introduction of a sublime female vocal. "Instant Pressure", a chunkier, dub-flecked fusion of dewy-eyed soul and low-slung acid bass, is also superb.
Review: Few disco and boogie DJs can boast record collections deeper than the one owned by Superior Elevation chief Tom Noble. It's this access to obscure, little-known gems that makes his regular re-edit releases so darn checkable. You'll find plenty dusty, rare revisions on the Brooklyn-based digger's latest EP for Razor 'N' Tape. Exhibit A: the low-slung, dub disco-goes-Latino flex of "They Came To New York", which exhibits a similar sonic space to early '80s heroes Konk. Also impressive is the high octane, jazz guitar-powered Afro-disco brilliance of "Disco Massamba", and "Parang-A-Teng", a chant-along tropical disco workout rich in heavy bass, delay-laden piano stabs and woozy female vocals. We haven't a Scooby what records he's been playing around with, but the resultant reworks are ace.
Review: Philadelphia's own edit kings Superprince return on Razor-N-Tape with four more heaters, all guaranteed to find a place in your record bag. The funky and percussion driven disco of "TKO Dance" leaves little imagination to the source - it's an oldie but a goodie! The slo-mo and jazzy lounge antics of "Keep It Real" are new to our ears, but we're sure it needed an edit - and it's a respectful one at that. On the flip, they save the best for last with the sexy disco inferno that is "You Are Here" ('possibly' a reference to the legendary Mr Mouzon) while an underground goodie by a one hit wonder from 1982 gets a well needed second coming on the neon-lit funk shenanigans of "Special".
Review: Not to be confused with Trevor Jackson's covert edit alias of the same name from the mid '90s, Chicago scalpel wielder Leonard Part Sixx brings his Underdog project to New York's finest Razor N Tape for a hefty double pack. "Drum Jawn" sets the bar high, a percussion heavy version of early '80s German curio "Din Dada" by George Kranz that seems geared to set new records for the amount of drum samples used within the space of a track. From here, proceedings veer off down a classicist vocal disco wormhole - blessed with some modern squelches and groove twists from the Underdog - on "Love Is Da Need" before the second platter opens with the brushed honey soul strut of "So Damn Good." Sir Leonard rounds out the double pack with a slab of '80s disco funk in the shape of the heavy flexing "Just Fakin' It."
Review: French producer Yuksek has released rather a lot of music over the last 15 years, though this appears to be his first ever collection of re-edits. You'll want to check tasty opener "How I Love To Dance", a lolloping rendition of a quirky and obscure disco number rich in Patrick Adams style instrumentation and well-placed dub delays, while the drum-heavy "The Beat" features waves of wonky percussion, a pulsating bassline and plenty of sweaty FX. Elsewhere, "Think Of You" is a head-bobbing revision of an AOR disco/disco-rock cut that sounds like it could have been re-edited by Eric Duncan, and "Dance In Disco" is a seductive Gallic disco chugger rich in heavily accented English vocals and jazzy electric piano solos.