disco . italo . cosmic . disco-not-disco . boogie


Genre pick of the week Cover of Moment EP by Peggy Gou.

Peggy Gou

Moment EP

International house sensation Peggy Gou launches her own Gudu Records with the "Moment" EP, a killer double header of dance floor majesty, informed by 30 years of club music and transformed into something all of her own.
The A-side kicks off with "Starry Night" (surely the only Radio 1 daytime play in history with a Korean vocal?) a beautiful fusion of emotional SAE melodies and proto house elements. The pinging bassline and punchy piano could come straight from a Prelude classic, while the sweet synth strings are totally AZN, providing an infectious and energetic backdrop for Peggy's fierce vocal. Top. On the flip "Han Pan" hits us with glassy / metallic synth melodies, a stepping rhythm and hints of island life in the lead line, once again topped by a choice vocal from Peggy. Timeless, anthemic and totally irresistible, this is another essential release from the latest house superstar.


Patrick says: How does she do it? Peggy Gou distils Prelude boogie, proto house and bubblegum style groove into a glorious two track 12" on her new Gudu Records. Featuring her bilingual vocals once again, along with a perfect combination of bump and melody, surely this is 2019's summer anthem?

Baggy Leggins

Mondo Disco / Bug Wax

Anyone who caught previous Baggy Leggins banger "Expensive Sheeeeet" and "Disco Lando" will be in mega-buzz for this hand stamped 7" of all new action. On the A-side. "Mondo Disco" is a fury filled foundation of bongos, beats and bass, with layers of rolling piano and hypnotic movement of brass, giving nothing else but good time vibes for the dance floor with plenty of outro for any discerning DJ. On the flipside "Bug Wax" brings a rewind for vintage 70’s retro kitsch ditchsco, as rhythmic bass guitar, enchanting flute and swirling strings entwine with subtle vocals and hints of electronic glitch over a pumping beat.

Baldelli needs no intro. A veteran in the music making scene deliver 4 slabs of cosmic beauty. This time his partner in crime is Dario Piana. Together they forge the very solid and clean 'Double Yellow Line'. Cosmic keys and effects are dropped with not warning on a bad boy bassline and a chuggy balearic house beat.

Followed up by 'Just The Time Of A Trip', which ups the tempo and adds some crazy psych, almost jazzy synths on top to keep the fun going. 
On the B Side, we go full cosmic journey with the aptly titled 'Cosmic Mood'. The tempo is slowed down again and a beautiful melody meanders in and out to produce a classic Baldelli futuristic trip.
Closing affairs is 'Closer To The Source'. A very nice chugger with a heavy bassline and gorgeous synth keys. Some vocals sample with heavy reverb and echo effects thrown in to complete what is my fave track of the pack. 
Classic Baldelli sound that shows the man is not ageing badly. 


Sil says: Baldelli in true form delivering 4 tracks of blissed cosmic cum balearic house with the help of Dario Piana. No surprises here if you know Baldelli's game. But that is not a bad thing if you love his take on cosmic house.

Lorna Bennett / The Revolutionaries

It's My House

Heavy reggae-disco-dub stylings here from Lorna Bennet & The Revolutionaries who, via Miss You's 2nd tasty reissue this week, provide a nothing short of eeessential 12" release for fans of that Jamaican groove.

Lorna Bennett (born 7 June 1952 in Newton, Saint Elizabeth Parish, Jamaica) is a reggae singer who twice topped the Jamaican singles chart in the early 1970s, and who is best remembered for her reggae version of "Breakfast in Bed".

"It's My House" was originally released, with little fanfare, on High Note sometime in the mid 80s. Fetching pricely sums online and feverishly collected by those who know, the vocal version is a heavy roots cut - resplendent with horns and loud bass. Bennet's vocal sits beautifully atop of the groove; sugary but not too sweet, melancholic but not depressive. It's on the flip that the instrumental really comes to life, a ridiculously well produced cut which is so far going unaccredited! It's clear and focused, hinting at the more digital, 16-track studios that became popular in the mid 80s but I have to hold my hands up I don't know anything about this record. What I do know is that I'm nodding my head harder to this instrumental than some of Wackies best efforts.. and that's saying summat! 


Matt says: Another sterling dub to compliment the recent slew of Wackies / Scientist freak-outs. Unbeknownist to me until now, this is what you need for the warmer months ahead.

Tony Benton was the driving force behind the Seattle sound during the late 70s & 80s and formed his group Teleclere, who went on to release their first single in 1982, Fantasy Love / Ultra Groove. Through the success of their independant release, Teleclere followed up a year later with their Affection/Defection album. The group disbanded shortly after and now, 36 years later we have the pleasure to announce the Tony Benton & Teleclere - Fantasy Love EP.

The tracks have been sitting on DAT tapes until early 2018 and this release is the first step to reviving their iconic sound via an initial 5 track steppers EP. 4 tracks are previously unreleased and haven't been heard since they were recorded back in the early 80s.


Patrick says: A casual glance at the sleeve should leave you in no doubt that Tony Benton is a GEE and the A-grade boogie which reveals itself once you slap the platter on the player only goes to confirm it. MEGA!

Bosq Ft Kaleta

Backstrokin’ / Goin’ To See My Baby

In your hands you have two slabs of heavy afro disco funk worth your pennies. On the A Side you get 'Goin' To See My Baby', a very organic full fledged mega tune for your hedonistic dancing packed with a full horn section, live percussion and plenty of afro beat feeling. 
On the flip we get 'Backstrokin', another mega tune that places the emphasis on the beat and bassline. The live vocals and the horn section are present with cowbells included. This one is dynamite and also my favourite. 
Definitely one for your shortlist as they do not come this good this often. 


Sil says: Two sides of live organic afro disco with full horn section and beautiful vocals. Plenty of sunshine is oozing from this vinyl. Make it yours!

Don Laka

Stages Of Love - Inc. Prins Thomas Edit

Donald Laka (Don to you and I) is a South African jazz and funk musician, who spent the 80s and 90s bossing the game, working with the likes of Sipho Mabuse, Brenda Fassie, and Sankomota. In 1986 he released a four track EP, "Stages Of Love", from which this glorious synth-driven disco song is taken.
For their first release, Neppå press this killer SA boogie bomb across the whole of a side, lending the hydraulic bassline extra heft and the proto house rhythm a little more snap. Seriously, even when you get past that floor filling boogie groove, there's still the hands in the air vocal and a wild organ solo to fuck you up - MINT!
On the flipside, Norway's cosmic kingpin extends the ecstasy for a nigh on nine minute journey into this unstoppable groove, keeping us locked into hypnotic instrumental passages, adding tasteful delay and echo to vocal sections and generally doing everything in his power to hurry along the next stage in human evolution.


Patrick says: Hot like chakalaka, tasty like bunny, this South African boogie bomb will fuck up your dance floor. Mega bassline, tight percussion and uplifting vocals do all the damage on the original, while Prins Thomas' edit keeps the whole pot on simmer for twice the track length, additional elements bubbling up to make the whole thing zing.

'Oh Transistor' is dark and menacing with a thumpy, fat beat coming on strong to drag you into a hypnotic rhythm and an ondulating wave of sound with a bit of Space Invaders feel thrown in for major effect. This sounds a bit like any of the remixes that James Holden used to produce in his golden era - but without the broken intricate beats. 
'Rare Formations' is a fast house tune with a stuck and looped key that ends up making tons of sense when the bass kicks in. You could also drop 'Midnight Express' by Patrick Cowley (I think that is who made it) and it would work wonders. Same bmp. 
As it is mandatory with a four tracker, there is always a slowed down track. And this is the one. A nice welcome after all the rush and sweat on the A side. This one is a bit trippy in a good way. Playful and groovy. 
And the same vibe goes for the closing track 'Cascade' It almost sounds like a Jean Michel Jarre, and that in my books is an excellent feat. 
Well rounded and diverse ep from Drumtalk. Still in form, still worth your time (and money!)


Sil says: Great comeback from the man who never really went away. Two seriously good house tracks on the A side accompanied with couple of chuggy, chilled takes for the early hours. Top draw.

The elusive HAND camp drop some more illicit offerings simple alluding to their tempo on the forth secret missive from the label.

With tempos from 120-128BPM you know what realm we're here don't you folks? HOUSE MUSIC! With gated drums, analogue synths, stepped sequences and loads of dubbed out fx I think we can hone in even further to the source material - I'd say these are proto-house cuts from between '84 - '88 but obviously don't quote me on that.

No IDs from my end I'm afraid, TBH they MIGHT even be original traxx, just executed in that classic vintage style... The quality is HIGH GRADE; I guarantee these are gonna go off in the dance. Stop thinking just buy it! 

The original from 1982 is a modern soul anthem. When it was released on 7'' for the first time in 2016, Gregg and the label started dreaming of "One For The Road"'s next blessing. Their mutual love of Philly Soul meant there was only one man on the planet who could fulfil this dream; Nigel Lowis! Imagine the elation when Nigel conjured up not one, but two distinct and incredible versions. Ladies and gentlemen, here are The Nigel Lowis Uptown & Downton mixes of "One For The Road"!

Harlem's legendary disco label P&P and its associated labels have long been cult favourites among fans of underground dance music for decades.

One of many labels operating under the equally legendary P&P family of imprints, Sound Of New York, USA was operated by one Peter Brown, a truly colossal figure in NYC's music scene, it's catalogue still fascinates music lovers to this day. Covering a wide range of styles including gospel, early rap and disco the label's output continually finds its way into the playlists of respected DJ's and selectors across the globe. This super heavyweight double-header features two stone cold rarities from the labels vaults on one 12" slab of wax for 2019!

Johnson Products kick off side-A with their killer, relentless groove "Johnson Jumpin" which originally came out in 1979 on the label. This was truly an underground hit at the time and in the years to follow with it appearing in the playlists of Frankie Knuckles and many other clued up DJ's of the era. It's a dope keys led dancer with some serious DIY analogue synth going down all over it and the band are literally killing it - the groove is so so tight! Essential stuff here. Flip this one over and you're in for another treat, Willie Wood & The Willie Wood Crew's version of the same cut, basically "Johnson Jumpin" with some old-school disco-rap leanings, Willie spitting bars of fire all over the same funked out backing track. Both of these records, if you caught them out in the wild, solo, would easily set you back a few nuggets. Fear not, you can grab this legit repress and dig on them both in the comfort of your own home!

This is a 100% legit reissue, made in conjunction with Above Board distribution and the Demon Music group, lovingly remastered with love by Optimum Mastering, Bristol UK.

Cin Cin’s fourteenth release sees the DFA label mainstay, The Juan MacLean, paired up with Zombies In Miami. Nods to British synth pop can be heard on lead cut “Time Out Of Joint”, with its jubilant and optimistic melodies tied to a robust drum machine groove, whilst Juan’s second contribution, “Everywhere At Once” unfurls with a carnival of sound and a spring-like tone that’s perfectly fitting, as bright keys and synth brass tumble forward in this colourful triumph of a track.

Zombies In Miami have been omnipresent on the scene for quite some time now, releasing their infectious music on labels such as CORRESPONDANT, Love On The Rocks and Futureboogie. “Lotus” is some serious business; heavy cowbell hits and a rasping arp riff that packs a punch, it’s production sheen straight out of the 80s soundtrack books! “Dance Of Gopis” has techno chops at the heart of its chugging and dubwise arrangement; it’s a bold cut that features swinging guitar riffs, walls of synths and towers of noise for a truly splendid closing moment on this release.

Kone Kone kick off the India Gets Physical with an ace dancefloor cut inspired by Salma Agha's "Come Closer", complete with remixes from Reboot and Todh Teri (who will be curating and mixing the bumper forthcoming compilation). 

Mumbai’s Kone Kone has an unconventional DJ style, creating audio-visual productions that are “a new route to discover old media.” Kone Kone's electronic sounds explore Indian musical practices with a lo-fi finish, including references taken from disco, funky basslines and rolling toms. This superb latest track is a tribute to Indian cinema’s ‘80s dance music.
Entitled "Come Closer," it is a brilliantly loose and louche house track propped up by elastic bass. A whole world of instrumentation and exotic percussion enrich the groove while female vocal coos and soulful pads bring rich colours to lift the listener.
Remixer Todh Teri is behind the acclaimed Deep In India release series and is at theheart of the revival of Indian cinematic sounds, where Bollywood sounds are reworked
for the modern dance floor. His brilliant version has heavier drums doing big loops and pulling you further in each time as the synths bring cosmic vibes. Last of all, label stalwart Reboot’s Muscleflexx Remix is darker and more edgy, with late night dance floors in mind as the pulsing synths and slippery drums gradually unravel.

Hot on the heels of their Hawkwind reissue, Emotional Rescue continue their vague reish/rework series this week by turning their attention to London's synthpop, new wave and bedroom pop prince Thomas Leer.
Signing to Cherry Red in the early 80s, he released the heralded '4 Movements' in 1981 and followed with 'All About You' in 1982, and it is from these 2 EPs that this release is sourced. The release starts with "Saving Grace" from the latter, a long famous Cosmic classic, its mid-tempo, spacey, lifting repetition is the perfect soundtrack for those Baldelli trips straight to the stars.
This is backed with "Tight As A Drum", a quintessential Leer production, where Teutonic drums is overlaid with sequencers and synth tones to elevate the song to some kind of disorientating outer-dimensional dub, while his lucid, spoken word vocals instill degradation and reinvention.
Asking Bullion to offer his own take on these two songs was the perfect pairing. A revered artist in his own time, the warmth and depth of his versions takes the originals to his own inner world; sampling, rewiring, reprogramming, resigning and replaying. An EP for the floor, the head and the heart.


Patrick says: I effin love Thomas Leer, so I was delighted when I saw this one in the pipeline. "Saving Grace" is a total cosmic classic, all A-grade synth chug and soaring pads, while "Tight As A Drum" is a crazy, kosmische inspired gem perfect for late in the session. Reinterpreted here by modern day maverick Bullion as well as in their original form, the tracks sound every bit as vital as ever.

Fresh from 1981, this Salsoul classic comes at you live and direct for 2015. Undoubtedly the grand boogie masterpiece from the legendary Leroy Burgess, this self titled LP is also one of the greatest albums of the post-disco era. From the bubbling bass and squelching synth of Larry Levan's superb remix of "I Know You Will" to the sharp woodblocks and Stevie Wonder melodies of "Something Else", the album is relentlessly on point, packing funk, soul, groove and attitude into one sassy package. Relentlessly danceable without ever missing a step, "Logg" is a true work of genius. All hail Leroy Burgess!

Walter Martino's "What Love Can Do", a dreamy piece of Italian disco, was originally found on Martino's 1980 album, "Nervi A Pezzi". Virtually impossible to acquire via discogs, I reckon this is previously the domain of secretive trips to the Italian countryside, pretending to the missus that you're taking her on a dream holiday when really you're off to mine the chazzers of Sardinia. Anyway, not only have Miss You sourced the best track of the whole album, they've given it a whole side of fresh 12" wax to entertain with, and backed with a tasty AF remix from Castro Helicopter which transforms it into an avant-disco percussive tool laced with acid blasts and a full percussionist really going to town. Essential stuff for the glitter ball dancefloors and certain to fly outta the door. Get those orders in quick folks! 

Wall of sound made of unadultered bass is what Mark Broom serves you today. Piano looping exercise a la Sound Stream and those vocals! That mega high pitched Patti Labelle's vocals lifted from her The Spirit's In It' uber known disco hit. This one is a belter and definitely peak time, big room artillery. 
Mighty Mouse focuses more on the vocals and a very long climax build-up that ends up with a chunk of Labelle's original followed up by a heavy house beat Derrick Carter style.  
This one is a summer banger, Terraces, clubs and festivals will be playing this one well loud. What about you? 


Sil says: Mega disco hit given the house treatment for the big club scene and the daring bar dj. Mark Broom steals the show effortless for us, giving you all the parts in due course. Not all at once. Give this bad boy a listen.

P-fun motor booty over here on this Kon feat. Reworked and crafted from the stems with George Clinton blessing. 
This is an unrushed edit, no house beat. Introducing all the parts in due course, patiently. Vocals, trumpets loop, keys, bassline. A slow chugger that has been composed with love and respect for the original. The chorus solo which is the climax of this track will cause more than one some goosebumps. 

There is a dub on the B Side, but for us is the vocals that bring this masterpiece to the forefront. This is a 1975 mega track given a refresh almost 45 years after.

This is how we like to see edits done. Kon needs no introduction and needless to say this one is essential. We are getting a few copies so do not sleep. 

Record of the week for me!


Sil says: The question remains. Why to release this beauty on a 7" and not on a glorious 45rpm 12" for the delight of the fierce DJ? Format aside, this is a great edit worth all these years of patient waiting.

The 9th Creation

A Step Ahead

    In 1980, the 9th Creation began working on new music at a Modesto studio, South East of Stockton. The studio was suspiciously cheaper than all of its competitors. After recording weeks of material, the band discovered the reason. 'We didn’t know that the guys that were running the studio were drug dealers,' A.D. Burrise recalls. 'There was a big raid.' All the studio’s master tapes were confiscated by the DEA. J.D Burrise unsuccessfully sued the DEA to recover the tapes but to no avail. Luckily Mike Micenheimer saved cassette mix-downs of some of the group’s songs from those sessions. “A Step Ahead” is the the 9th Creation’s lost album. 8 unreleased songs of pure soul, funk, disco and boogie. (Because of the source of these recordings, please know that (sadly) some of the songs have drops in stereo and are not 100% audio quality.)

    Powder is an alchemist of time. Her ceremonious DJ sets invite listeners and dancers to extend their imaginations to abstracted spaces, while allowing the body to vessel the voyage in free, flowing style. Playful, thoughtful, and natural without knowing, Powder’s crates encourage abandonment of arbitrary boundaries and expectations surrounding genre, movement, schedule, and societal convention to revel, spirited and harmonious, in the passage of time.

    Momoko Goto relocated from her hometown of Nagasaki, Japan to Tokyo in 2011. This is where the story of Powder, as the international dance music community knows her, begins. With the change in location came a change in lifestyle, where a balance of 9-to-5 office life and sacred, nocturnal recording sessions invited Moko to reflect on music’s unique ability to “stop the clock” and “expand or shrink our sense of time.”

    While many workers across the world feel the pressure of artificially controlled measurements of time, Moko’s musical mission to transcend these weighty associations, to shed light on the positive possibilities of passing time, resonates far past her island’s shores. Experiencing the pleasure that comes from physical and emotional transformation. Creating and nurturing memories.

    In embracing these positive properties of time, Powder uses the hypnotic language of patterns to communicate with listener-dancers. Patterns represent the meter by which bodies are compelled to move; they also represent a method for collection and organization of sound, where the cohesive stylistic and historical narrative of different pieces of music are laid over one another transforming both intimate and universal moments into a dreamy, experiential, and endlessly interpretable whole.

    Moko notes that patterns, “are always ancillary and never playing the leading part of things, and the patterns themselves recognize this fact and act low-key.” This interpretation of sound and rhythm mirrors critical aspects of underground club culture, such as collective energy-making and protection, togetherness over spectacle, the layering of multiple bodies, and narratives upon one another in ecstasy.

    Since her debut release on Born Free Records, 2015’s Spray, Powder’s sound has flirted with numerous unconventional dance institutions and outlets, releasing on ESP Institute, Wichelroede and the Cocktail D’amore imprint, as well as regularly contributing to the latter’s illustrious mega parties. For her Powder in Space mix, Moko presents two new songs that were created within a new schedule, with summers spent touring Europe and North America, welcoming the unique experiences offered by each location.

    “New Tribe” toasts the global community Powder’s connected during her travels. Marching-band snares, breathy ostinatos, motivating chords, springy auxiliary percussion and bouncy melodic details – all Powder trademarks, coalescing into one of her most celebratory offerings yet. “Gift” is a subtler jam, shuffling and twinkling in perfect balance. Reminiscent of “Spray,” it sustains a retrofuturistic groove that defies the house / techno categorical binary.

    On the the EP, Powder’s two new originals sit alongside Daphne’s “When You Love Someone (Groove Instrumental),” a sultry, twirling vibraphone deep house number from 1993; and the first ever release of Samo DJ and Hidden Operator’s atmospheric scene setter, “Захват Сзади Rox.” For the CD and digital mix release, these four originals weave within an impeccable mix of memories from Moko’s travels and experiences over the past years touring and sharing with new friends.

    Powder In Space marks the first in a new series exploring dance music’s form and informality from Tim Sweeney’s Beats In Space Records. The friendly voice behind the longstanding Beats In Space radio show and a formidable DJ to dance floors around the world, the …In Space series, like the rest of the label’s eclectic catalog, is testament to Tim’s trust in the selector and vice versa.

    Purple Disco Machine

    Glitterbox – Discotheque

      Glitterbox is proud to present Purple Disco Machine’s debut mixed compilation, ‘Glitterbox - Discotheque’. A leading light of contemporary disco and a key resident for the nightlife phenomenon’s internationally renowned parties, Tino Piontek, aka Purple Disco Machine, has distilled his acclaimed headline DJ sets into two mixes; ‘Purple Disco Day’ and ‘Purple Disco Night’. Featuring over 30 tracks of fine soulful, funk-laden beats, Purple Disco Machine showcases an impressive decade-spanning repertoire of gems, from underappreciated golden-era disco to newly-released vocal house, plus two exclusive edits from the artist himself, all mixed beautifully in Purple Disco Machine’s unmistakeable, acutely modern style.

      ‘Purple Disco Day’ builds just as a Purple Disco Machine afternoon festival set would, the deep tones of Paul Alexander’s voice and deconstructed funk of Forrrce ‘Keep On Dubbin’ (With No Commercial Interruptions) making way for the sunshine sounds of Yuksek & Bertrand Burgalat’s ‘Icare’ from 2018. A trio of classics brings up the tempo, followed by more newness from Horse Meat Disco direct from the Glitterbox stable, Dele Sosimi ‘You No Fit Touch Am’ (Medlar Remix) and the first brand new edit from the man himself, Ilija Rudman featuring Andre Espeut ‘In Her Eyes (Purple Disco Machine Edit)’. The edit, which has taken pride of place in his sets for a while now, is Purple Disco Machine at his deepest, leading seamlessly into a covetable Kenny Dope mix of the Boris Dlugosch collaboration ‘Love For Days’ featuring Karen Harding. ‘Purple Disco Day’ demonstrates the sophisticated restraint of a DJ who truly knows how to apply pressure and when to hold it back, producing a mix that works on a home stereo as much as it does on the dancefloor.

      On the flip, ‘Purple Disco Night’ starts strong with two huge remixes from Purple Disco Machine himself, Shakedown’s ‘At Night’ and Weiss ‘Feel My Needs’, undeniably two of the most-played reworks of the last six months. The heavy hitters keep coming; Mighty Mouse’s ‘The Spirit’ providing the energy and Moloko’s ‘Sing It Back (Mousse T.’s Feel Love Mix)’ providing a euphoric singalong moment. Purple Disco Machine’s second exclusive edit is of Julien Jabre ‘Swimming Places’, a timeless Defected classic from 2005 with so much emotion, brought tactfully into 2019 with a fleshed-out bassline. Documenting the full might of Purple Disco Machine’s production credibility, no mix would be complete without his irresistible remix of the seminal ‘Praise You’ by Fatboy Slim and of course the crossover hit ‘Dished (Male Stripper)’, once again proving he can’t go wrong using his remarkably unique disco sound with a modern twist.

      South keep the classics coming with these three incredible reimaginations of Nina Simone classics from Francois K, Tony Humphries and Coldcut each with their own unique touch and trademark style weaved within.
      Francois K kicks off with a sublime deep house rework of "Here Comes The Sun". Reminiscent of Larry Heard’s more emotional output, Francois nods to Mr Fingers with a bassline that harks back to those early Chicago classics, coupled with deft mbira touches that create an other-worldy feel to the remix. Celestial waves and singing rides mix with a buzzing top line melody that lay the foundations for Simone’s spiritual voice to hang in the air with a perpetual elegance and grace. A timeless slice of house music that earned Francois’ version a spot on one of Innervisions acclaimed ‘Secret Weapons’ compilations.
      Next up, Zanzibar royalty Tony Humphries lays out a bumping remix of ‘Turn Me On’ turning the bluesy soul leanings of the original on their head and flipping it into an uplifting summertime groover. Simone’s words take on a different tone with this revitalising rework backed by staccato guitars and chopped up vocal melodies that give a playful yet soulful character to this slab of sunshine.
      Rounding off the EP in classic Coldcut style, the duo meld ‘Save Me’ into a chopped, screwed and crunched remix. Lo-fi percussive elements and distorted textures blend with glitching samples and stuttering sequences that turn Simone into a tripped-out goddess. An atmospheric piece of electronica but with a harden edge purpose made for the dancefloor.


      Sil says: Reworks of uber classic 'Here Comes The Sun' with Francois Kevorkian delivering yet another masterclass in remixing with another suave, chilled house number. Humphries goes more full on and Coldcut go a bit more breakbeat. Great package!

      The Italian disco masters are back with four heavy funk-fuelled vinyl cuts.

      "Cabasa" has off-kilter bass, Rhodes, dirty drums and grainy samples knitted together in to a groove heavy enough to get your Gran going. Hypnotic, trippy and disco at its finest. "Congo Club" goes full cowbell and 80's drums. A chanted vocal wonks out over a Rhodes that weaves all kind of magic, then the lead drops and critical mass is reached. The title track cracks on at a pace with synth strings, flanging bass, distorted drums and keys tying it all together. Latin percussion is dropped over a a sung sample and the swing is on. "Summer of Sam" takes a more soulful diversion but keeps a foot firmly in the disco camp. The track builds with spacey atmospherics in to a track that will work in any situation.

      Unknown Artist

      Tropical Jam 3

      Another of Vakula's limited edition edit records. This time the Ukrainian wonderchild turns his hand to South African synth boogie as he unearths and tweaks three house-not-house, mid 80's bangers from the SA 'underground'. Now, we're not getting all arsey on Vak here - but we're well accustomed to a bit of this here at Piccadilly following the amazing "Gumbo Fire..." comp plus loads of reissues from Don Laka's amazing catalogue (basically, if it's dance music, from South Africa, and it was made between '82 - 2002, you can confidently bet that Don Laka was involved.. - ed).

      Anyway, trusty old Vakula's chosen some great numbers, none of which we've heard before so thank goodness for that. Just grab it and have a listen - you won't be disappointed!


      Matt says: Summer 2019: South African synth boogie / proto-Kwaito sounds become the rage. Vakula joins the charge. Everyone dances.

      Calling all glue sniffers and mirror kissers, Duca Bianco unleash their first 12" featuring freak-beat, fucked up and scuzzy DJ edits by Smagghe & Cross, Tom Bolas, Hanoben & ADSX and Schmoltz, a fine collection of kerazies I'm sure you'll agree. 
      Kicking us off are post punk loving electronic heroes Smagge & Cross with the weird, warped and fuzzy wave of "Drug Of A Nation", an unorthodox anthem critiquing the perils of square-eyed subserviance. Well whacked out but still a sing-a-long, this is gonna hit hard with adventurous floors. Next up, Tom Bolas reaches deep into the bag to hits us with a fast paced and fucked up cover of AWB's "Pick Up The Pieces" topped with a robotised schlager vocal and the occasional scream - insane and irresistible I reckon. Over on the flip, Hanoben and ADSX rock us with a VHS saturated space disco hit, extended and upended for the underground, while Schmoltz comes through with an end of night / afternoon groover for the Balearic crowd in the form of "Starnight". Jazzy acoustic guitar, Stevie styled chorus and plenty of feels - 5 sandals out of 5.


      Patrick says: More wavy weirdshit from the Duca Bianco camp here as Smagghe & Cross, Tom Bolas, Hanoben / ADSX and Schmoltz offer post punk, daft disco, cosmic and Balearic rerubs respectively.

      Homegrown talent from the beautiful inland town of Hamar, surrounded by the beautiful Furuberget and lake Mjøsa. First collab with these former Skwee-stars on Full Pupp Splits as Prins Thomas further expands his roster.

      Although previously contributing to the discombobulated, fractured sub-genre that was 'Skwee', Melkeveien and Sprutbass here opt into a more dancefloor friendly aesthetic - somewhere between house, Balearic and new disco - ie. the Prins Thomas remit!

      A couple of PT-OGs grace side B. "Bybuss" begins with the produce's patented percussion section working at 2/3s acceleration: a gentle sway and canter introducing a typically hypnotic, stuttered groove made up of staccato synth lines slowly growing intensity over its extended course before a picked bassline is introduced for the second half of the track. "Ænsjless" is basically a rip off of Jeff Mills' 909 workouts, with fizzing snares compressed to buggery and big fat kicks banging away as analogue crashes and swooshes fill out the mix - perfect for utilizing at your next three-deck dance party and a very ear-catching listen.

      New Special Edition release from Rune Lindbaek on the Magic Wand label featuring four exclusive remixes from the prolific producer.

      First under the knife is Lowrell Simons' "Love Message", which Lindbaek smudges and slurs into a sun-scorched Baleario-classico! The superb guitar picks and chops combine with that ridiculously phat b-line for a moment of hammock-swinging fun in the sun - boom!

      Next up, Frederico Estevez' percussive roller, "Hologramas" sees Rune focus on the tribal nature of the drums, emphasizing the low resonances before adding mystic flute and gentle sea crashes for another paradisiacal track to get lost on your favourite island to.

      Craig Peyton's "Be Thankful For What You Got" flips the mood into snappy, hardware-guided electro-funk. Complete with juddering b-line and rock solid Jomox drum hits, this hits that sweet spot between Italo, proto-house and freestyle wonderfully.

      Finally, RL gets busy on Angel Tears' exotic opus, "Ishka"; full of eastern flavour and a galloping groove, this brilliantly evocative remix sees tuff breaks and a proggy synthline adding, taking the track to the beaches of Goa and Bali...

      Thanks for posting about it. It’s here until next Friday May 3rd btw.
      Wed 24th - 8:58
      Yes! Thanks @NME for the feature. Come and visit @ianbrown
      Tue 23rd - 9:48
      It’s great isn’t it?! Glad you liked it and hope your wish comes true.🤞🏻
      Mon 22nd - 5:55
      Thank you. Come back soon.
      Mon 22nd - 3:49
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