AfroQbano - "El Bucanero" (feat Kevin Ford - Dez Andres remix) (4:40)
Review: Chicago label Future Rootz is a collective of mix media DJs who all play and rework global roots, tropical bass, world electronic and Latin house. Who better to do that than Detroit's Dez Andres, a deep-diving DJ, house head and producer with Cuban roots. He goes first here with 'El Trombone', which has a signature low-end thump with sunny Latin vocals, joyous horns and florid melodies. He then slows things down with one of his trademark remixes of AfroQbano's 'El Bucanero', which has noodling bass and poolside charm.
Review: In around 2013, artists like Yung Bae pioneered the genre of future funk, which took elements from early Japanese city pop and funk from the 1980s, and turned it into hyper-compressed, dull and nostalgic explosions of sampledelic sound. But in turn, it reinvigorated interest in the particular brand of city pop that had been sampled - and those already in the know about it will know it was already danceable and driving enough. ANRI, the singer hailing from Kanagawa, was a central artist in this early J-pop sound, and unwittingly paved the way for this decades-to-come cultural routing. Funky live horns, dynamic vocal jumps and an optimistic feel cut across her 1982 opus Heaven Beach - a more laid-back and relaxed album compared to her other projects, and only her fourth. Emblematic of the Sino-nostalgia that has taken the vaporwave and future funk community by storm, it was one of her four earliest albums to be released with the timeless Japanese music trademark - the obi-strip.
Review: Japanese city-pop starlet Anri was a fixture of the late 1970s to early 80s, and renewed interest in her work has sparked something of a reissues incentive. Now her 1984, early-to-mid career album Coool sees a reissue via For Life alongside Bi Ki Ni, and further hammers home her romantic vision in disco. Unlike the aforementioned album, Coool is slightly more electronic and dancey, and meditates more on appreciating nature than romance, with standout track 'Gone With The Sadness' reflecting Anri's experience of getting away from the city and leaving the sadness that comes with urbanity by the door.
In Alto Mare (Adriatique remix instrumental) (7:13)
In Alto Mare (Adriatique remix radio edit) (3:25)
In Alto Mare (4:23)
Review: Loredana Berte's unmistakable voice meets the glittering finesse of French touch as Dimitri From Paris spreads her 1980 hit 'In Alto Mare' across a hot griddle of club-ready disco. The track launches a new remix series celebrating Berte's legacy through the lens of contemporary producers and DJs: Dimitri, known for his stylish refits of Jamiroquai, Chic and Dua Lipa, now leans into a comparatively classic funk groove, elevating it with a cinematic glide and streamlinear post-prod polish. Long a staple of his DJ sets and broadcasts in bootleg form, this official release feels fated. "It's melodic, disco-flavoured, cinematic, and emotionally powerful - all the things I love," he says, as it manifests as the first of seven reworks dropping over the course of May 2025.
Review: Dutch DJ, digger and re-editor Pete Blaker returns to Hot Biscuit Recordings - possibly the most on-point re-edit imprint of the last few years - with a second batch of tried and tested revisions. Lead cut 'Harry's Little Vocoder' is, we think, a fine re-edit of a grandiose, horn-heavy, orchestrated European disco of the sort most associated with German artist Harry Thumann. On the B-side he returns to 'Neverending' - which in its original re-edited form appeared on his previous Hot Biscuit 12-inch - and delivers a fresh 'cosmic version' alongside Dionisis. Effectively a fresh cover, it's a deep, dreamy, drum machine-driven chunk of intergalactic cosmic disco that should suit nu-disco DJs and disco purists alike.
Review: Hull's finest downtempo and Balearic master Steve Cobby (who is best known for being part of Fila Brazillia) is back with a brilliantly titled record that once again finds him impressing on all fronts. He is the producer but also the man who plays all the keyboards, bass, guitar, flute, clarinet, plus drums both live and programmed. Across seven captivating tunes, he explores snaking rhythms with sunny melodies, dusty broken beat smoking soundtracks, late-night lovestruck lullabies and heart-aching moments of inward reflection. Yet another vital work from this ever-underrated talent that instantly becomes a favourite for years to come.
Take It To The Limit (Joaquin Joe Claussell extended version) (7:17)
Review: New York disco don Joe Claussell takes a scalpel to Norman Connors' 1980 uncut 'Take It To The Limit', turning a smooth Philly disco-soul burner into a swirling, peak-time epic. Originally voiced by Adaritha and buried on Connors' overlooked tenth LP for Arista, the track is flaymorphosed: pulled inside out, looped, stretched and whipped into chaos with Claussell's trademark floor-focused touch. If you've caught him lately at Body & Soul, you've likely heard this one spiralling into the rafters.
Review: Cuts From The Vaults is the latest in a long line of "mystery" edit labels, with some of the material on show originally appearing on various obscure, now hard-to-find white labels at various points over the last two decades. The A-side features two tweaks of 'Shot' (AKA Eric Clapton's reggae-rock cover of Bob Marley's 'I Shot The Sheriff') - a slightly dubbed-out, reworked and extended full vocal version, and the arguably superior, groove-based 'Special Dub'. Over on the flip, 'Bossarocker' sees the Doors' 'Break On Through' get the rework treatment. The 'Bossa edit' is a bossanova beat-powered rework of a live recording, while the 'Break On edit' is a punchy, subtly breakbeat-driven revision of a bluesy studio recording. Superior edits of rock classics: don't sleep!
Review: Japanese electronic disco producer and performer Fujisawa Hideki aka. Dance Man coined the term "mirrorballism" as the philosophy behind his ultra-tight brand of disco. Four albums of mirror-ballistic albums, New Generation Dance Classics Volumes 1-4, appeared before his fifth album, Funkoverlic, surfaced in 2004, from which this ingenious pair of trax, 'Bomber' and 'Hey Hey Ookini Maidoari', came. Translating roughly to "there is a lot of everything" from Japanese, the latter track brims with posse-backed instrumental disco-hop steeze, worthy of bombastic emceeing should any rap collective fancy it. 'Bomber' is comparatively funky, save for its devilish wax scratches, giving way to one of Dance Man's more glamorous vocal lines.
Review: The emerging Disco label sure does love disco - specifically a sound infused with funk, soul and in the case of the opera, lovestruck vocals that melt thereat. They come with a nice languid bassline and some sophisticated strings while 'Song' has a super cool and breezy groove and vocal that is airy, light, and uplifting in quietly devastating fashion. 'Fear' is more of a party starter with glossy vocals and strident claps and drums then 'Do You' shuts down with more jazzy flute motifs and a lo-fi rhythm with vocals that speak of late night love and lust.
Review: Australian singer Nicky Nite Time and veteran Chicago second wavew house don Felix Da Housecat team up to rework Wham!'s 1984 classic 'Freedom', transforming its uplifting energy into a darker, harder-hitting, and low-key surreal dancefloor weapon. This bold refix pushes the track into pulsatory, late-night club territory, where the four walls about the dancefloor melt into strange shapes, and the checkered footlit floor cycles through the rainbow. The B-side includes Nicky's dub version for an alternative spin, along with an acapella, furthering our sense of possibility. A fresh, edgy, multi-version take on a beloved hit.
Review: Funtown delivers a double-sided disco delight with their latest single, 'Love Contest' and 'Everybody'. On "Love Contest,' the dancefloor is graced with classy disco vibes accentuated by big strings, creating a grand and immersive sonic experience. Meanwhile, 'Everybody' ignites the party with its upbeat tempo, serving as a disco burner that sweeps listeners away with its expansive sound. Heavy band instrumentation, funk-infused rhythms, and vibrant horns contribute to the track's infectious energy. With their commitment to bringing out the best in disco sounds, Funtown continues to gain new audiences with their ability to deliver epic dancefloor anthems. This 12" vinyl release shows their worthy dedication to keeping the disco spirit alive and thriving.
Les Dance (Jean Claude Gavri 2017 dub edit) (6:35)
Review: Over the last few years, Israeli producer Jean-Claude Gavri has reworked all manner of vintage dancefloor treats, often delivering brilliantly percussive or subtly tooled-up reinterpretations. This time round, he's working his magic on David Bowie's 1983 classic "Let's Dance". Interestingly, it sounds like Gavri had access to the master tapes during the remixing process, because the A-side remix is a wonderfully dubbed-out, synth-laden interpretation that sounds like a cross between the work of The Reflex and the Idjut Boys. The flipside Dub Edit is pretty tasty, too, and naturally concentrates more on both the rolling percussion and killer synth bassline.
Review: Brooklyn-born street soul artist Martine Girault was an epitomal artist in the genre, and her extended stopover in the UK would prove instrumental in its development, despite her American origins. She was fittingly also a favourite of many international label staples from Eskimo Recordings to Opaz; while in the UK, she collaborated with producer Ray Hayden of Opaz for her standout single 'Revival'. A significant underground hit, 'Revival' veers on the aspirated side of the downbeat street soul sound. Girault's style is both angelic and hoarse, and riffs on the temporal bubbles of the contemporaneous genre new jack swing, while getting at something much higher than either style alone can peg. This reissue reproduces the song in pristine stereo, and brings out the ghost-noted piano hook to extra pop-out effect.
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: Ten yeras ago, when it first was released, Young Corner marked the triumphant return of Swiss producer Alex "Lexx" Storer, renowned for his ability to craft evocative atmospheres and emotive journeys on the dancefloor. The standout track, 'Turning Tides,' blends deep house rhythms with Balearic flair, featuring sun-soaked textures and lush disco-inspired guitars destined to create unforgettable moments. 'Mahogany' takes a slower pace, with bold electronics and crisp guitars layered over a deep, dub-infused bassline. Rounding out the EP, 'Serenity' elevates the Balearic vibe with dreamy chords, clipped guitars, and cascading electronics, offering a serene escape into blissful sonic landscapes. Lexx's artistry shines through in this mesmerising collection.
Review: After originally dropping on 7" in edited form back in early 2022, Sophie Lloyd's wonderful gospel-disco sing-along, featuring righteous lead vocals from Pauline Taylor, finally makes it onto a 12".. The full-length take on 'Angels By My Side' - all rubbery disco bass, sustained organ chords, punchy horns, cut-glass strings and Taylor's awe-inspiring vocals - comes accompanied by two fresh re-rubs from Detroit duo Floorplan (AKA minimal techno originator Robert Hood and his talented daughter Lyric Hood). They first serve up a bouncy, non-stop gospel-house dub full of cut-up vocal snippets, hands-aloft piano stabs and stomping drums, before throwing their arms skywards on a similarly loved-up, full vocal remix.
Review: Kicking of the fifth volume of Milan's Manzo Edits series after a hat-trick-and-more's worth of Afro-disco edits, we've now 'Rosy' on our ears, a bittersweet disco daydream fattened on swooning strings and lovesick charm. Things get steamier after the fact with 'Amare Moto', a slinky, mid-tempo grind laced with satin synths and late-night shimmer. Flip it over and you have 'You Have To Cry Tonight; tight Italo percs clutter in with big hair energy, and a bassline built for strutting. Closer 'Bring Me' dials up the absurdity: cowbells, yodels, and alpine mischief collide in a peak-time oddball rave.
Review: Secondhand copies of this record from 1983 have exchanged hands for up to as much as 400 quid, just to give you an idea of how highly it's valued. As is often weirdly the way with these cult old scuts, The Mobley Gang aka Dennis Mobley, only ever released this one tune, which he wrote while Dave Ogrin and Lou Gonzales did the production. It's a boogie-fried disco cut with sizzling synths and harsh drum sounds as well as playful pianos. The club mix is more funky and pared back and will have your hips swinging in zero seconds.
Review: Neapolitan funk maestro Mystic Jungle returns with a new LP less than a year after the dreamy Words of Love with more astrally-charged electro/boogie/disco type wonderment. Dario di Pace's third full-length has been quietly brewing for years, shaped by studio shutdowns and shifts in location i and that patchwork journey adds a certain character to the gorgeously technicolour music on show. It's perhaps his most eclectic and free-flowing release yet: a bright, hazy blend of styles that feels both loose and deeply considered. On the dancefloor end, tracks like 'Secrets' and 'Some Lovin'' burst with disco grooves, searing guitars, call-and-response vocals and sultry sax lines. Elsewhere, 'Innervision' and 'Twilight' lean into lovers rock and wavy neon-dub pop, full of yearning, shimmer and otherworldly flourishes. Then there's the stoner sway of 'The Road' and 'Get Me Higher' i sun-soaked, psychedelic jams with zoned-out soul at their core. A richly immersive Amalfi joyride from start to finish, the Periodica fire just keeps on burning.
Little Boxes (feat Guavatron - 40 Thieves version) (10:27)
Review: Cole Odin debuted on Leng in 2020 when he served up the super 'Numbers Game' tune as part of the label's 10th anniversary compilation. He now makes a welcome return, this time with the go-slow king that is Eddie C. Between them they cook up a perfectly low-slung tune in 'Little Boxes.' It has effects-laden guitars and kaleidoscopic electronics that lock you into a chugging yet cosmic groove and take you on a real trip to the stars. On the flip is an epic 10 minute-plus version from 40 Thieves that really ups the starry eyed vibes and expansive chords.
Review: Just in time for a hot disco summer, Fatty Fatty kicks out this essential 12" packed with glittering and golden grooves. The irresistible EP has three tracks that have never before been available and showcases Pablo & Shoey's range. Side A opens with 'Raw Human Emotion Part 2,' which is one of those end-of-the-night anthems that will lodge long in the memory and no doubt bring tears in the right setting. It's soulful disco perfection. On the flip, two rediscovered bangers from their Do It Backwards EP emerge: 'Shoey's Acid Trip' is a euphoric acid-disco slammer, and Pablo's warped, rave-ready 'Air Raid Dub' does exactly what it says on the tin. With support from tastemakers like Severino from Horse Meat Disco already in the bag, this one is perfect for late-night mayhem and festival sunsets alike.
Review: DFA Records prime mysterious new Brighton signees Proper Monday Number with a sure start, flicking the proverbial Rube Goldberg machine into gear with a banging remix of their otherwise unreleased debut track 'High Horse'. Here, of course, it's LCD Soundsystem / DFA's very own James Murphy at the remix controls, together with resident DFA DJ and "decent human" Matt Cash. Toolroom dance moods extend over a lusciously simple seven minutes, bringing home FM stabs and LinnDrum faceslaps aplenty. And the lyrics: "stop what you're doing now... you ain't got no crown! get off your high horse! turn this ship around!" In our day and age, we need more anti-stagnation, ego-teardown anthems like this, so we welcome the sentiment by the masked duo.
11 Minutes Of Cold Bloodedness (Rahaan remix) (11:24)
Africano (Rahaan remix) (6:44)
Disco Walkin (Rahaan remix) (7:25)
ITT (Rahaan remix) (7:09)
Review: Hot Biscuit Recordings established Typewriter Record Pool as a personal vehicle for Rahaan's in-demand re-edits, which have long been amongst the best in the business - in part because he tends to breathe new life into impossible-to-find obscurities and overlooked dollar bin jams. The label's latest release boasts the veteran Chicagoan's most expansive collection of disco re-fixes yet. He begins with '11 Minutes of Coldbloodedness', a rasping and revelatory disco-funk epic that just gets more intense as it progresses, before stretching out a percussive Afro-disco treat ('Africano'). Over on the second slab of wax, 'Disco Walkin' sees him breathe new life into a Moog solo-sporting chunk of disco-funk heaviness, while 'I.T.T' is an uplifting Afrobeat call-and-response treat re-framed as a percussion-rich Afro-disco shuffler.
Eyes Like Cinnamon (Adrian M Nation & Horatio Luna) (5:13)
When I'm With You (feat Natalie Slade) (5:00)
Kinda Strut (Adrian M Nation) (4:02)
Review: Analog Recital's new album fantastically collides the worlds of lo-fi house and jazz-synth sounds on Inner Tribe Records. Clearly drawing inspiration from early jazz-house production but adding new ideas to that, the record combines dynamic dancefloor rhythms with crusty drums reminiscent of classic hip-hop and live horns as well as traditional African drums. It features Adrian M Nation from Antigua and Barbuda and Millicent from South Africa on vocals, while Aussie Horatio Luna is on bass to make this a truly pan-global and richly musical affair. By merging live instrumentation with late-night club vibes in this way, Analog Recital really impresses.
Review: You can't fault Defected for being always there and always on point. It truly embodies house music spirit and has done for decades on many different fonts. 'Spotlight' leans on an r&b jam familiar to many and it comes here with some fresh remixes. The original is rolling, soulful house with lush production, US garage drum shuffles and great vocals. Sam Divine adds plenty of weight bass and makes it a more tribal tech cut then two Mousse T remixes offer first a big, raw and piano-laced version as well as a slamming disco mix for the peak time.
Gaz Nevada - "IC Love Affair" (original 12" mix version)
I Signori Della Galassia - "Archeopterix"
Cerrone - "La Secte De Marrakech Suite"
John Foxx - "Burning Car"
Thomas Leer & Robert Rental - "Monochrome Days"
Cabaret Voltaire - "Red Mask"
Caution - "UFO" (original 12" mix version)
Martin Rev - "Nineteen 86"
Pascal Comelade - "Sequence 1"
The Flying Lizards - "An Age"
Throbbing Gristle - "Beachy Head"
Terminal City - "Mugin For Unknown"
Review: Jon Savage's second delve into the diverse sounds of the post-punk era offers another enlightening listen, and this is a limited CD with 12 page digisleeve booklet. Do You Have The Force Volume 2: Jon Savage's Alternative History Of Electronica 1978-82 traverses the worlds of electronic music, disco, experimental, and proto-techno and looks for the similarities and differences between those niche sounds with music from the likes of John Foxx, Soft Machine, Cabaret Voltaire, I Signori Della Galassia and many more. The meticulous curation is a testament to Savage who is deservingly celebrated as a renowned cultural commentator, writer and filmmaker.
Review: Since taking up music production following a career-ending football injury, 20-something Leeds lad Reuben Vaun Smith has delivered two tropical-tinged, Balearic-inspired albums for Soundway. On his third full-length (his first for long-serving Californian label Ubiquity Records), the Yorkshireman refocuses a little more on the dancefloor, offering up a range of attractive cuts that combine his love of mid-tempo, dubbed-out disco with African, Latin and Middle Eastern vocals, rhythms and instrumentation - as well as a heavy dose of psychedelic sounds and trippy effects. It's a smart shift that's undoubtedly paid dividends, with our picks of a very strong bunch including 'Beams', the dreamy 'Mali' (a track inspired by that country's vibrant musical culture), and the life-affirming dancefloor shuffle of 'The Waxing Gibbous Moon'.
Groovejet (If This Ain't Love) (Purple Disco Machine & Lorenz Rhode remix) (7:09)
Groovejet (If This Ain't Love) (Breakbot & Irfane remix) (5:32)
Groovejet (6:19)
Groovejet (If This Ain't Love) (vocal mix) (7:30)
Groovejet (If This Ain't Love) (Riva Starr Disco Odyssey mix) (7:50)
Groovejet (If This Ain't Love) (Riva Starr Skylight mix) (6:31)
Groovejet (If This Ain't Love) (Harvey Sutherland remix) (7:24)
Groovejet (If This Ain't Love) (Harvey Sutherland instrumental) (7:23)
Review: Sophie Ellis Bextor got her self back in the headlines during lockdown having hosted a series of live streams from her own home. They reminded people of her happy go lucky and dance floor friendly sound, not least her epic naughties hit 'Groovejet' (If This Ain't Love).' Defected capitalise on this with a massive double pack of remixes from contemporaries like Purple Disco Machine and Riva Starr. The original sits pretty in the middle of them all and frankly still takes some beating but Harvey Sutherland does a fine job of updating it with some cool jazz-funk bass and chords.
Kaysoul - "Let's Get Down" (feat Kevin De Coste & Mario Casares) (5:04)
Kaysoul - "Let's Get Down" (feat Kevin De Coste & Mario Casares - Nico Lahs remix) (5:38)
Kaysoul - "Sea Crawl Out My Eyes" (4:00)
Review: Melchior Sultana's sounds have always been the set f sunset house depths that have you dreaming of warmer climates. For this new EP on Fluid Funk, he slows it down even more and explores funk, dubby drums and meditative chords. 'Sustained' is inwardly reflective and beautiful with a subtle synth glow, then 'Fusion' has a little more swagger but no less of a magical synth shine. Kaysoul keeps the buddy, intimate house tip going with 'Let's Get Down' which is underpinned by great bass work, and 'Sea Crawl Out My Eyes' which ups the ante with crunchy hits but still nice eft and subdued chords. A Nico Lahs remix brings some steamy, tropical heat.
We use cookies to personalise content and ads, to provide social media features and to analyse our traffic. We also share information about your use of our site with our social media, advertising and analytics partners who may combine it with other information that you've provided to them or that they've collected from your use of their services.