Disco Recommendations November 2014

Review: A fourth release on the Sunshine Sound label arrives and is likely to prove as irresistible as previous trawls from the acetates of some of disco's finest acts. TS Monk will need no introduction for anyone that considers themselves a scholar of the disco movement; formed by New Yorker Thelonious Monk Jr. the group served up three sublime LPS for Mirage during a prolific early '80s run, bridging the gap between disco and funk in the process. The four cuts included here predate TS Monk's break out tracks such as "Bon Bon Vie" and "Candidate For Love" and have never been released before. Disco collectors should not sleep!

Review: Bay Area soul/funk duo Myron & E's 2013 debut album for Stones Throw, Broadway, was something of a surprise hit. Here, one of the LP's genuine highlights - the authentic '70s disco-soul gem "Do It Do It Disco" gets the remix treatment. The standout mix comes from PPU regular Tom Noble, who delivers a synth-heavy disco-boogie version that nudges the San Francisco duo's original further towards roller-disco territory. As with most of Noble's mixes, there's a celebratory feel that's nothing less than delicious. Elsewhere, Myron & E deliver an extended, 12-minute take on the four-minute album version - with a little help from backing band the Soul Investigators - while J-Rocc drops a delay-laden, filter-heavy re-edit that makes more of the original's brilliant disco drums. In a word: essential.

Review: Having previously restricted their output to one record per year, the Secret Squirrels posse have been very busy in 2014 with this fifth 12" their third disco transmission since #3 dropped in February. Somewhat cunningly still shrouded in mystery, the Secret Squirrels crew present another two extensions for the intended delight of disco selectors everywhere. The more scholarly DJs out there will most likely nod knowingly as both the tracks here play out, with the B Side a particular string laden gem in the disco canon, but it's how the squirrels use their scalpels that matters most when it comes to this record, some 1210s, a mixer and a willing dancefloor. Cut loud for optimum play.

Review: Having kept his powder dry for some time, Danny Krivit seems to have got back into the re-edit game in a big way. Following his recent reworks of Cerrone comes another 12" of expert scalpel works. On the A you'll find "Corazon", a vibraphone-heavy rework of a disco-funk cover of the track made famous by LTJ Exchange, laden with brilliant disco breaks and parping horns. "Deep Sky" is an altogether more intense affair, with dense percussion and curious noises jostling for position alongside murky chords and intoxicating vocal chants. It's arguably the pick of the two tracks, and has all the makings of a leftfield disco dancefloor smash.

Review: It's been a while since we last heard from Jan Schulte and Diskoking Burnhart McKoolski's Bufiman project - two years, in fact. After previously plying their wares on Verein Freir Menschen und Musik, the eccentric Balearic/disco duo have been snapped up by Gilb'r's Versatile imprint. "Running (The Chase)" is something of a killer - a driving chunk of clavinet-laden disco fuelled by a seriously heavy post-punk/dub disco bassline. "Kavalier" is deeper and spookier, with new age synth melodies riding a loose, Afro-influenced groove. The slower "Bonobobeat", meanwhile, is a low-slung delight, with snaking synthesizer lines wrapping themselves around dense, head-nodding disco percussion.

Review: It's been a while since Hamburg producer and selector Sebastian Doring last donned his Lovebirds moniker, three years in fact when he memorably championed the cause of the thuggish Honey Badger for the Tear Drops label. Here he resurfaces on Brooklyn edit emporium Razor-N-Tape for a triplet of funked up tweaks which should service any lagging dancefloor. You'd have to be a sheltered mind not to know the source material for "Funk So Pretty", but there's plenty of trickery and FX at play from Doring here too. The self styled "Beautiful Rework" of "Free" should be filed under mood setter whilst "Donwanchooback" is at the opposite end of the scale, primed for deployment deep into the night.

Review: Emotional Rescue takes a look towards the danceflor sounds of Britain underground 80s electronic synth-pop scene for their next release. From Dallas' infamous ecstacy fueled Starck club to the Le Palace in Paris, it was such music that while not gaining wider pop recognition, become classics of their time and the secret fids for today's DJs.
With the synthesized sounds of Gary Numan, The Human League, Depeche Mode, New Order and Yazoo sweeping the pop charts between1980 and 1985, there were many electronic groups that never reached such heady heights. Up and down the country, clubs were mixing these revolutionary hits with an array of underground and experimental electronic dance tracks that never made it up to the surface of popular culture. While industrial groups like Chris & Cosey and Cabaret Voltaire developed from experimental tones towards a more pop and club orientated vision, a myriad of independent labels appeared to release literally hundreds of synth dominated groups vying for the spotlight. Long lost labels like Ink, Survival and Illuminated today offer many lost treasures and in one of these you'll fid the duo of Pink And Black and their one (miss) hit wonder. Rob Stroud and Michelle Yee-Chong worked with limited budget, rudimentary studios and temperamental equipment to create a piece of synth-pop history. While Sometimes I Wish was clearly aimed at the flor with it's nonchalant vocals, driving rhythms and uplifting lines, it was Miss Fortune - hastily recorded in leftover studio minutes that showed a true glimpse of (leftfild) genius. Wispy vocals, snap break beat and DX bassline all meet here in an unreleased extended form and show why it has become a secret play for the likes of Joe Hart (World Unknown), Veronica Vasicka (Minimal Wave) and Josh Coen (Dark Entries).

Review: Cuban-born Guy Cuevas made his name in Paris during the early '80s, where he DJ'd at the 'Le Palace' club. During the period, he also released a trio of singles, of which "Obsession", recorded at Compass Point in the Bahamas and released by Island Records is probably the best known. "Ebony Games" was his 1981 debut, and the original Gaumont Music 12" regularly changes hands for decent money online. This surprise reissue should be a must-have for those of a Balearic persuasion. The title track - a humid, tropical fusion of soft-focus disco, positive lyrics and delay-laden flutes, is particularly potent. Arguably even better, though, is the chugging electronic weird-out of "Everywhere is My Home", a decidedly cosmic fusion of bubbling synthesizers, sparse drum machine rhythms and woozy, half-chanted vocals.

Review: One hand-stamped 7" from Edward of C's Red Motorbike label, two totally different stories... "Farmer God" is a yarn of unfettered Balearic proportions. Languishing somewhere in the Wild West, 150 years ago, it's a lolloping composition where each nylon string weep is echoed by an equally mournful organ flurry. The chips-are-down soundtrack to any great western, it's Eddie at his most sedate and contemplative. "The Touch" brings us back to the present day by way of a sexy mid-tempo strut. All disco bubbles and overlayed pianos, this should really be a 10" just to accommodate the feel good vibes.

Review: Having established the C.A.R. project with a clutch of EPs, former Battant chanteuse and all-round coldwave starlet Chloe Raunet will release her debut album under the alias later this year. Before then, two tracks from the album - "Idle Eyes" and "Angelina" - get the remix treatment. Roman Flugel indulges his new wave fantasies with a rather bizarre but quite brilliant remake of "Idle Eyes" - think warped bass, cut-up rhythms and relentless synth melodies - before Planningtorock lay down a more straightforward leftfield electronic disco take on the same track. The Manfredas instrumental version of "Angelina" chugs hard, occasionally breaking down into delightful synth strings and winding melodies, before Benedikt Frey drops a dark, throbbing, acid-flecked take on "Idle Eyes".

Review: strictly limited, hand stamped, individually numbered, no digital.

Review: Sunkissed Recordings ongoing trawl through the archives of music in the name of Balearica arrives at Tina Turner with a righteous slab of wax! There's plenty of dancefloor potential here for the selectors that veer through the tempos within the duration of a set; see for example the 1986 housed up mix of "Afterglow" from Justin Strauss that opens up the 12". Following this are two killer Tina cover versions in the shape of ""Whole Lot Of Love" and "I Can't Stand The Rain". Expect to hear this latter extended 12" cuts in the more Balearic friendly bars everywhere! Enter The Thunderdome fans will be all over the instrumental take of "We Don't Need Another Hero" that closes the 12"

Review: A cult Balearic document, Discos have kindly re-issued this four-track beauty and you'll be glad you paid attention. Mexican by origin, heavenly by nature, the whole set is sprinkled with Latin motifs and coated in sugar-sweet harmonies. From the lounge loving easy listening of "Deja Que El Mundo Sea Feliz Otra Vez" to the rich warm horns of "Camino Equivocado" via the fervent sexuality of "No Me Presiones", Hot Pepper's delivery and arrangement embodies the true spirit of disco. The real drawer here, though, is "Canion Ritual"... A staple cosmic classic for those lucky enough to pick up on it the first time around, it stands the test of timelessness extremely well.

Review: The Universal Cave crew return with a second seven inch offering of unknown sonics courtesy of Charleston selectors JAZ and Party Dad. Up top "Crash Boom" sees JAZ serve up a slab of killer vocoder led disco funk that's so hooky the crowd will be signing over the sensational slap bass without evening realising. After that level of disco deviance you'll need to cool your jets... And Party Dad has the perfect remedy; a gentle guitar strumming number that's reminiscent of Donovan at his deepest, it's an instant Balearic lullaby. Sweet dreams!

Review: Simoncino unveils his Craig Paradise Cooper guise with this special limited 10". While he's always been synonymous with authenticity, this homage to the Paradise Garage elevates his dedication one step further. Rich, analogue and ultimately loopy, each of these three tracks whisks us back to house music's most formative era. "Trax I" is a breezy, journeyman soiree that's so euphoric it could make Mr Fingers blush. "Trax II", meanwhile, is undiluted ambience, seeped in emotion. For added DJ pleasure he's also thrown in some bonus beats. Full package. No faking.

Review: Only 100 pressed for the world !

Review: The crew behind that monumental Ilo edit which you will have heard if you stepped in a club any time over the past year come through with a new label called Lo Fi Edits, with this debut offering brandishing five super spacey disco edits for the price of a ten bag. During the trip expect to be plucked from reality with the same tight guitar string picks of Kikroko's "Man This Is My Girl", look forward to some serious robotic struts on the Italo classic "Takin' It Straight", prepare for a savvy string massage on "Space Sentry", anticipate a sloppy bass kiss upside your chops on "Boogieasy" and be sure to receive the loopy, filtered funk finale that is the "Makin Love To The Music" sucker punch. Wow.

Review: New Yorker Elliot Taub graces this 8th Kinfolk release with 3 trax of varying intesity. 'Do That Dance' is an uptempo melodic bass and synth heavy dancefloor jam. 'Thirteenth Roll in A Bakers Dozen' takes a slower spaced out route. '10 Dollars' conitnues in the same mode but this time with guitar and a super heavy synth line pushing the driving force along and finally Soft Rocks grab a hold of '10 Dollars' and turn it into a John Carpenter-esque electro groover.

Review: It's been what the kids like to call a hot minute since Kelvin Andrews excellent Creative Use edits stable last issued a 12", three years in fact, so the sight of a new slab will please the more Balearically minded selectors out there. The man charged with edit duties this time is DW, aka Mancunian scalpel merchant Dan Wainwright, and his three cuts on This Is The Music We Dance To are up there with some of the finest edits issued by Creative Use. Living up to the 12" title, proceedings commence with a boosted and extended take on '70s funk rockers The Undisputed Truth which showcases Wainwright's mastery of the tools of the edit trade. From here he veers off into the spiced up psychedelia of 60s outfit Shocking Blue before closing with an edited take on a true Balearic pearl from Brand X that has end of nighter written all over it.