Review: The frankly named imprint Disco Records - surely you know what you're in for - return for their fourth release, continuing their specialty: editing rare and obscure disco gems from the 70s and 80s. It can't exactly be pinpointed as to who helms the label, but we're sure they're veterans of the Parisian disco scene, as a battle-scarred expertise is flaunted across four choice disco and funk numbers held close to this anonymous releaser's heart. Few of these would be baitheads' choices; and all are of the 'obscure and interesting' variety.
Review: The mighty DFA label has always come at dance music from a rock and indie perspective and for that reason has always brought plenty of new ideas to the dancefloor. Fernando Pulichino has long been at the heart of the operation with his fusion of rock, funk, and electronic beats and here he is again with more of the same. 'I Got, She's Got' is a raw, energetic track, while the remix offers clarity and rich arpeggios. 'She's Playing With Fire' with saxophone by Gustavo Buchiniz, meanwhile, adds another explosive element meaning that all three tracks deliver pure club-ready firepower.
Review: First Timers is a destined collaboration between two accomplished producers Andreas Stevens (aka DJ Greyboy) and Brian Ellis. Setting out to create timeless music using only the finest vintage hardware gear, they've conjured a stunning debut bridging a gap between funk and AOR/Soft Rock. First Timers unleash onto the world a 45 housing the working man's anthem 'Three Day Weekend' and Stone City-inspired 'Out The Sheath'. Both tracks feature live horn arrangements by the Black Thor Horn Section, an attribute as rare as the vintage synths and drum machines used to craft these tunes.
Review: US producer Pilooski shows us exactly how disco edits are done with their latest three-tracker 'Special Disco Versions', all three of which are dedicated to the work of Frankie Valli and The Four Seasons. The time-honoured and unmistakable hit 'Beggin', already a hit in Pilooski re-edit form back in 2007, works its subtly breakbeaty, surround-clappy magic, perfect for those hankering after a more readily-DJ-mixable version of the hit. A spinal-scratchy French verison of 'Who Loves You' appears afterwards, not to mention the original version of 'Grease' on the B2.
Review: Mr Bongo's Brazil 45's series brings us two Brazilian classics: Rita Lee & Tutti Frutti's 'Agora E Moda' and Pete Dunaway's 'Supermarket'. 'Agora E Moda' from Lee's 1978 album Babilonia is a psychedelic disco-boogie groove highlighted by squelching guitar licks, funk drums, and cosmic vocals. Rita Lee, the former lead singer of Os Mutantes and a key figure in the Tropicalia movement, left a lasting legacy upon her passing in 2023. On the flip side, Dunaway's 'Supermarket' is a rare groove/AOR gem with a standout bassline, swaggering guitar, and lush strings, showcasing his talent as a composer and multi-instrumentalist. This release celebrates the enduring influence of Brazilian music.
Review: Magic In Threes are back with a mind-mending, strings-laden disco masterpiece, 'Liquid Star Duster'. A nimble modern disco cut whose no-more, no-less agility would fail to charm few discothes, we can vouch for this one's function on the dancefloor. Drop it in your next set and neither you nor your crowd will be displeased. Towards its latter end, 'Liquid Star Duster' even comes peppered by sprung electric finger-plucks of the most talented type, an unusual feature for a disco tune of its kind. B-sider 'Sippin' After Midnight' lowers things to a beanbag pace, posing with its hands behind its head as wah-wah exploitation funk licks and a swung peak synth line, dually lead the charge with pomp and panache.
Review: Australian DJ and producer Dave Mathmos serves up an obscure edits entree, sampling/reworking a whopping seven disco cuts from the late 1970s and early 1980s, but adding just enough modern flair to essentially make them his own. A well-rounded, sticky quality is heard on this septagonal crock of heaters, with the downtempo slink-funk of 'Late At Night' and the equally sumptuous, string-backed plod of 'Wonderful Feeling' remaining our highlights.
Review: After two 45s on Les Disques Bongo Joe, Dutch Afrofunk space cadets make their debut on Soundway with their first full EP. Hurling all their roots and inspirations into a heady, bewitching brew of west African, Columbian, Caribbean, Latin and all-round cosmic fusion, the results are four slabs of world funk gold. "Down In The Basement" updates highlife styles with a salubrious big-bottomed disco twist, "The Opposite" ups the tempo with a little more cumbia charm while "Continue The Fun" adds a dub mentality to the mix as we're chugged to oblivion with heads down introspection. Finally "Tuto Bay" closes somewhere on a Cuban beach with rum-warmed harmonies. Beautiful.
Review: The Mocambo label introduces Turkish artist Peki Momes who began recording music by chance in 2023. Despite no formal music training, she brings a fresh, authentic approach to groove music based largely on intuition. Her first two tracks reflect her versatility and feature here - 'Goc Mevisimi' combines Japanese City Pop with tropical boogie to create a global underground vibe with dirty disco grooves, jazzy flute and Turkish lyrics. 'Ruya' then delivers a gritty psychedelic Anatolian sound with fuzzy guitars and hypnotic energy. Momes is working on a debut album, we hear, and we can't wait.
Review: The new batch from the bottomless edit archives of Danny Krivit is an uptempo, guitar-heavy excursion into two cuts of danceable rock from opposite sides of a decade. The sound is crisply remastered for club play, and stretched over the breadth of a 12-inch single. Both of these tracks are appearing on the long-format player for the first time.
Review: This is a reissue of a rare 1978 single from Whirl (aka West Indies Records Limited) which blends George Clinton's famous Parliament funk with Caribbean flair. The Outfit was one of the Caribbean's funkiest bands and they always showcased the creative potential of "Spouge music", particularly with their explosive cover of Parliament's 'Dr. Funkenstein', which they renamed 'Dr. Spougenstien'. Despite its rarity, the track became a hit in Barbados and was often mistaken for an original song. The B-side features a punchy Cosmic disco version of the Peter Gunn theme.
Fall In Love In Outer Space (Turbotito rework) (5:21)
Fall In Love In Outer Space (Blank & Jones Ride A Sunbeam rework) (5:00)
Fall In Love In Outer Space (Chuggin edits rework) (4:25)
Fall In Love In Outer Space (Those Guys From Athens rework) (4:32)
Fall In Love In Outer Space (Vibes4YourSoul rework) (4:37)
Fall In Love In Outer Space (HOLDTight rework) (5:19)
Review: Prime Time Band's 'Fall In Love In Outer Space' is one of the undoubted highlights of the latest Too Slow To Disco compilation - a quirky, 1985 curiosity that blends AOR, soft rock and spacey, synth-laden disco. Here the track is dragged into the 21st century by a sextet of remixers, most of whom treat the original with due reverence. Turbitto kicks things off by adding layers of tactile electronics and echoing effects to the obscure outfit's sumptuous, soft-touch vocals and instrumentation, before Blank & Jones re-imagine it as a dreamy Balearic disco chugger. The Chuggin' Edits tweak is tactile, groovy and super-slow, while Those Guys From Athens beef up the beats and add a touch of low-slung dub disco haziness. Meanwhile, 'Vibes4YourSoul' drop a warming, Rhodes-heavy interpretation and HOLDTight deliver slo-mo disco-funk vibes aplenty.
Undercover Of The Night (Stones unreleased instrumental 45 edit) (4:52)
Miss You (Stones unreleased instrumental 45 edit) (4:49)
Review: Rolling Recordings from Antigua makes its debut here with a first release under the guise of Rock Star Heroes who offer up a couple of hard-to-find and previously unreleased funky disco influenced club bound instrumentals of out and out rock classics from one of the worlds best known stadium bands. These are perfectly designed for the club and collide rock, funk, disco and more into fresh forms. Opener 'Undercover Of The Night' popular with the likes of DJ Harvey and is a slice of raw, hard-hitting groove magic with organic percussion and live drums laden with funky guitar riffs and lively chord work that brings the whole thing to life. On the flip is an instrumental version of 'Miss You' which still has all the swagger of the iconic original with sultry harmonica luring you to the floor where the masterful drums and guitars will keep you moving.
Review: 'Shehzadi' (which means "Princess") is an Indo-disco gem featuring Solomon's Hindi vocals over Sababa 5's blend of hypnotic drums, nice pulsing bass, bright electric guitar and sparkling synths in a minor key. It channels '80s nostalgia with a modern twist and so rather evokes a Stranger Things meets Bollywood-type vibe. 'Ranjha' (which means 'Lover') shifts to a Middle Eastern feel with synths that echo traditional instruments like the saz. The upbeat groove complements Solomon's dynamic vocals and is filled with hope while dramatic pauses and an exuberant synth solo from Sophia add extra flair to make for a compelling mix of emotion and energy.
Review: A near-mythical release from the Italian composer/bassist/karate don Pino Presti, Shitan was a one-off project in 1977. Slow, pensive, full of tension and loaded with detailed cinematic elements, it still sounds forward-thinking today. No surprises that the original 12"s regularly go for hundreds. Madly the long version never made it to the original 12" so this is the first time the full five minute version has been available. As if a repress wasn't enough reason to jump on this!
Juan Pablo Torres - "Cacao" (Dan Tyler NAD Bulto version) (7:54)
Juan Pablo Torres Y Algo Nuevo - "Pastel En Descarga" (Dan Tyler NAD) (3:39)
Grupo Los Yoyi - "Paco La Calle" (Nick The Record re-edit) (8:11)
Review: Dan Tyler and Nick The Record's third installment in the Mr Bongo Edits series brings a bold twist to Cuban classics with three tracks that are equal parts cosmic and dancefloor-ready. On the A-side, Tyler extends two Juan Pablo Torres tracks from his reissued 1978 'Algo Nuevo' and 1977's 'Super Son.' First, Tyler reimagines 'Cacao,' a standout track from Torres' LP, giving it room to breathe and intensifying the percussive climax with swirling synths and spacey dub effects. It's a track that thrives on a big system, building tension as it goes, and works wonders in the right environmentijust ask anyone who caught it at La Paloma in Barcelona. Next, Tyler dials into 'Pastel En Descarga,' turning the Latin-funk fusion into a punchy, trippy dub with delay and drama, keeping the track's energy while taking it further into spacey, cosmic territory. On the flip, Nick The Record tackles Grupo Los Yoyi's 1977 'Paco La Calle,' taking a 2009 edit and expanding it into a longer, more hypnotic piece. The percussion pushes and pulls as the psychedelic synths swirl, creating a dynamic and ever-building groove. The 2025 version is elevated with new synth lines courtesy of Tyler, deepening the track's psychedelic richness. A cosmic whirlwind of reworks that bridges the gap between '70s Cuban innovation and modern dancefloor sensibilities.
Review: Ralph White's early ventures into disco are finally gathered in one place with the first official anthology of his 1978 recordings at Sydney's Albert Studios. Better known at the time as a session player and producer in the city's studio scene, White was tapped by M7 to craft four disco pieces aimed at an emerging dance market. Over just two days in the studio and a small group of local players - including a young Tommy Emmanuel - he recorded four standout cuts, together which remain some of the most refined Oceanian disco ever put to tape. Though the original 12"s saw limited success domestically, M7's distribution push into markets like Canada, India and Argentina helped cultivate a quiet cult following. Now remastered and housed in a deluxe spot-UV sleeve with inserts featuring new liner notes and White's biography, this reissue shines overdue light on a forgotten chapter in Australian dance music.
Review: Spanish funk-rock group Barrabas formed in the 70s and had big success through that decade and the next. Drummer and producer Fernando Arbex lead the band and fomented a fusion of Latin rock and jazz-funk initially, before moving into a more disco orientated sound later on. Power was the band's second album and it came in 1973 with country-tinged tunes such as 'Boogie Rock', high speed funk workouts like 'Keep On Moving' and then more jazzy library sounds such as 'The Horse.' The second half of the album touches on busy dance floor funk like 'Casanova' and more stripped back and deep cuts like 'Children.'
Review: Discom continues to unearth genuine gems from the former Yugoslavia. The dusty-fingered reissue imprint's latest pick comes from 1983. It's the sole, self-titled album from Boom Selekija, a relatively short-lived eight-piece made up of funk and soul musicians from other Belgrade bands, who disbanded shortly after the LP was released. Musically, the album pairs vibrant and authentic disco-boogie instrumentation - with some Eastern European flourishes - with impassioned Serbian-language vocals. It's a quietly impressive set all told, with our picks including the spacey and loved-up stomper 'Studentski Stan', the rubbery bass guitar, rock-style guitar solos and intergalactic synth textures of 'Vladina Gitara', the subtly jazz-funk-infused, slap bass-propelled 'Juljaz Me', and the almost beat-free jazz-funk sleaze of 'Frizerka Naja'.
Review: The debut album from Bahraini-born, British-based musical duo Dar Disku is a celebration of their Arabic heritage and multicultural influences that melds golden age West Asian and North African sounds with a contemporary dancefloor focus. The eight-track record hears the duo traverse their West Asian and North African origins and bring them back to their current place of residence, crossing from disco to Rai, from piano house to Turkish psychedelia, and all manner of other cross-Med import-exports. From the degage Turkish psych prog-house builder 'Sabir' with Billur Battal, to the penultimate piano-breaks rattler 'Galbi', this is a chilled and wavering dance release primed for bridging international gaps.
You Can't Miss What You Can't Measure (Alton Miller mix) (5:17)
Get Your Ass Off & Jam (Marcellus Pittman remix) (6:46)
Cosmic Slop (Moodymann mix) (9:26)
Music For My Mother (Andres Wo Ahh Ay vocal mix) (5:23)
Super Stupid (Dirtbombs version) (4:30)
Music 4 My Mother (Underground Resistance mix) (5:41)
Undisco Kidd (Gay Marvine edit) (5:46)
Take Your Dead Ass Home (The Fantasy version) (7:46)
Let's Take It To The Stage (Amp Fiddler Laugin @ Ya mix) (6:11)
Standing On The Verge (Anthony Shake Shakir & T Dancer remix) (5:37)
You & Your Folks (Claude Young Jr club mix) (6:43)
Be My Beach (Mophono & Tom Thump mix) (6:08)
You & Your Folks (Claude Young Jr dub) (5:55)
Let's Make It Last (Kenny Dixon Jr edit) (7:32)
Looking Back At You (Ectomorph Stripped & dubbed) (6:12)
Maggot Brain (BMG dub) (10:09)
Review: Given the brilliantly simple concept behind this fine compilation - contemporary Detroit producers remix Funkadelic - we're rather surprised nobody's done it before. With 17 varied re-rubs stretched across three slabs of wax, there's naturally plenty to enjoy. Highlights come thick and fast, from the deep house/P-funk fusion of Alton Miller's take on "Get Your Ass Off and Jam" and Andres' loose, hip-hop influenced revision of "Music For My Mother", to the thrusting loops and heady late night hypnotism of Anthony Shake Shakir and T-Dancer's version of "Standing on the Verge". While many of the versions stay relatively faithful to the original, the more "out-there" interpretations - see BMG's outer-space ambient dub of "Maggot Brain" and Moodymann's epic revision of "Cosmic Slop" - are also consistently impressive.
You Can't Miss What You Can't Measure (Alton Miller mix)
Get Your Ass Off & Jam (Marcellus Pittman remix)
Cosmic Slop (Moodymann mix)
Music For My Mother (Andres Wo Ahh Ay vocal mix)
Undisco Kidd (Gay Marvine edit)
Super Stupid (Dirtbombs version)
Take Your Dead Ass Home (The Fantasy version)
Music 4 My Mother (Underground Resistance mix)
Let's Take It To The Stage (Amp Fiddler Laugin @ Ya mix)
Standing On The Verge (Anthony Shake Shakir & T dancer remix)
You & Your Folks (Claude Young Jr club mix)
Be My Beach (Mophno & Tom Thump mix)
You & Your Folks (Claude Young Jr dub)
Let's Make It Last (Kenny Dixon Jr edit - mono)
Looking Back At You (Ectomorph Stripped & dubbed)
Maggot Brain (BMG dub)
Review: Given the brilliantly simple concept behind this fine compilation - contemporary Detroit producers remix Funkadelic - we're rather surprised nobody's done it before. With 17 varied re-rubs stretched across two hugely entertaining CDs, there's plenty to enjoy. Highlights come thick and fast, from the deep house/P-funk fusion of Alton Miller's take on "Get Your Ass Off and Jam" and Andres' loose, hip-hop influenced revision of "Music For My Mother", to the thrusting loops and heady late night hypnotism of Anthony Shake Shakir and T-Dancer's version of "Standing on the Verge". While many of the versions stay relatively faithful to the original, the more "out-there" interpretations - see BMG's outer-space ambient dub of "Maggot Brain" and Moodymann's epic revision of "Cosmic Slop" - are also consistently impressive.
Review: Pan-African supergroup Ibibio Sound Machine return with Pull The Rope, a tonal shift compared to their earlier full-lengths like Electricity; this one veers more on the side of acid house, highlife and disco, compared to the more histrionic electronics of the eponymous sound machine of that album, as well as Uyai and Doko Mien, heard thus far. As heard on the lead single 'Got To Be Who U Are', we are importuned with the command to be ourselves, as everybody else is already taken; such an injunction is met with a driving, time-of-your-life, weighty acid house production, which comes to neat effect when paired with Eno Williams' passionate soul vocals.
Review: Originally self-produced and released in the mid-70s by members of Kitakyushu City University's Knights, a light music club, Knights Company was a rare two-disc set that came as an LP and EP and was sold in very limited quantities. Virtually unknown even among collectors, this album combines the high-energy soul influence of James Brown with a bluesy, melodic West Coast and AOR sound. Decades later, its appeal is undiminished as it captures the youthful spirit and talent of northern Kyushu's finest. This masterpiece has been revived as a compilation with high-quality remastering by 8ronix and a striking new design that makes it collectible all over again.
Andi Otto - "Bangalore Whispers" (feat MD Pallavi)
Michael De Albuquerque - "We May Be Cattle But We All Got Names"
Pyranha - "Clepsydre"
Yargo - "Marimba"
Okyerema Asante & Black Fire - "Play A Sweet Rhythm On Them Drums" (feat Plunky)
Mr Scruff - "Giffin" (feat Nke - taken re-edit Speechless dub mix)
Isis - "In Essense"
Frank Hatchett - "Malibu Nites"
Review: A UK club culture icon for all the right reasons, Luke Unabomber has put in a helluva shift over the years bringing the best tunes to the best parties for decades upon decades. He might be just as visible these days as a social media raconteur-comedian, but his depth of knowledge is unfathomable and a compilation like this is the perfect vessel to realise just a little of what he possesses in his fabled record shelves. Away from direct dancefloor firecrackers, this is a chance for Una to show off some jaw-dropping mellow cuts spanning soul, jazz funk, spaced-out electro and scores more obscurities besides. It's a collection like no other, featuring fully fledged songs that will burrow into the soundtrack of your own life without even a shred of resistance.
Review: One Bjorn Wagner is the mastermind behind the cosmic disco project Magic Source, a natural follow-on after the acclaimed funk outfits Mighty Mocambos and Bacao Rhythm & Steel Band. Voyage Spectral is his second album under the alias, following Earthrising in 2016. It's a dazzling display of synth-laden grooves, inspired not least by the rare and obscure cosmic disco bits made by relatively anonymous artists for European music libraries. Minimal, princely, fast disco cuts like 'Speed Boat To Atlantis' embematize the feel of this album and Wagner's oeuvre, as they nail the chilled-out psychedelic fantasy of magic-carpetting to far-off mythical worlds.
Review: Following 2012's fourth volume that celebrated the existential work of Tim Maia, here we find Luaka Bop exploring the legacy of William Onyeabor. A high chief and Kenyan diplomat who allegedly refuses to discuss his music, he self-released eight albums in the 70s and 80s and these are some of the many highlights. Stretching from the New York-influenced post-punk synth funk of "Good Name" to the most authentic Afro fusion of "Why Go To War", Onyeabor's range not only reflects his clear creative skill, but also the ever-developing international language of music during the fruitful period he was active. Who is William Onyeabor? Press play and find out yourselves...
Review: Asha Puthli's triumphant return to the stage after 44 years is marked by tour dates across the US, Australia, and Europe, including iconic performances at Glastonbury and We Out Here. To celebrate this milestone, Mr Bongo has repressed her legendary 1976 album, The Devil Is Loose, on gold vinyl. This album, featuring the psychedelic disco-funk classic 'Space Talk,' exemplifies Puthli's eclectic career spanning 60s psyche, free-jazz, pop, rock and disco. Each track on The Devil Is Loose highlights Puthli's celestial style and sumptuous vocal range, supported by orchestral-infused, disco-enhanced instrumentation. The album transitions seamlessly from the infectious funk of 'Flying Fish' to the cosmic transcendence of the title track, and the choir-channelling 'Say Yes.' Puthli's majestic vocals cast a unique spell, making the album cinematic and captivating throughout. Whether replacing a worn-out original copy or discovering Asha Puthli for the first time, this quintessential slice of her world promises to enchant and inspire.
Review: A krautrock/punk funk/no wave/post disco hit-fest from the prolific American-born/London-based multi-instrumentalist and producer Shawn Lee. Lee, who was the drummer in the now disbanded Welsh band Carwyn Ellis & Rio 18, has made an album that's a left-field indulgence for sonic wanderers. There's a strong Neu! or Can feel to the opening and closing tracks - the bookends, if you will - so these songs are a homage to late 60s and 70s experimental music, but as invigorating as the golden generation's attempts. Elsewhere, 'Lost In London' has more of a new wave feeling; it's like a more hypnotic Gang of Four. And 'Lost In Tokyo' is a really smooth number, so the perfect soundtrack to when you feel like you can take on the world.
Review: Tullio De Piscop is an Italian drummer of some repute. He worked solo and with his quartet and interest in his records, many of which were recorded back in the 70s, has piqued recently resulting in a load of reissues. Sotto E 'Ncoppa is one of them and it was recorded back in 1976 and has since gone up in value and rarity. It's a jazz-rock fusion album with a whole host of electric guitar, bass, saxophones and pianos on it that embelish each cut and make the whole thing packed with detail.
Review: By now, we should all know what to expect from the popular Too Slow To Disco series, namely glassy-eyed, pitched-down disco, boogie, yacht rock, blue-eyed soul and AOR with a distinctive soft-focus flex. Naturally, there's plenty to savour on the series fourth edition, much of it either obscure or previously overlooked. Our picks of a predictably strong collection include the horn-totin', much-sampled Pleasure classic 'Nothin' To It', the lusciously loved-up cosmic soul of Prime Time Band's 'Fall in Love in Outer Space', the eyes-closed, Rhodes-sporting AOR soul of 'Stay The Night' by the Farragher Brothers, the slow release swell of Alan Price's 'Groovy Times' and the sun-splashed jauntiness of Max Leake's 'Tell Me The Reasons'.
Prime Time Band - "Fall In Love In Outer Space" (2:55)
Kenny Nolan - "You're So Beautiful Tonight" (4:50)
Peter Skellern - "Now That I Need You" (4:09)
Marc Jordan - "Generalities" (4:21)
Severin Browne - "Stay" (2:27)
The Faragher Brothers - "Stay The Night" (3:46)
Alan Price - "Groovy Times" (5:54)
James Felix - "Open Up" (4:19)
Hirth Martinez - "Altogether Alone" (3:55)
Max Leake - "Tell Me The Reasons Why" (4:41)
Stephen Encinas - "Music In Me" (3:54)
Eric Andersen - "Can't Get You Out Of My Life" (2:55)
Jimmie Spheeris - "Beautiful News" (2:43)
Jeanine Otis & Heikki Sarmanto - "Magic Song" (4:32)
Pleasure - "Nothin' To It" (4:06)
Review: Since launching eight years ago, Too Slow To Disco has now become the go-to compilation series for all those interested in AOR disco, glossy West Coast blue-eyed soul, yacht rock and slow-motion disco. This belated fourth instalment - volume three landed in stores five years ago - is every bit as alluring as its predecessors, with an even more obscurity-heavy track listing. Highlights are naturally plentiful, with our picks including the eyes-closed wonder of James Felix's deliciously loved-up 'Open Up', the low-slung shuffle of 'Music In Me' by Stephen Enchilidas, the synth-splashed Balearic rock haziness of Jimmie Spheeris's 'Beautiful News', and the quietly funky brilliance of Severin Browne's 'Stay'
Bell Helium - "We Don't Have To Talk About It" (4:23)
Litto Nebbia & Los Musicos Del Centro - "Como Aprendi A Soportar Tus Inseguridades" (4:17)
Joe Thomas - "A Place In Space" (5:32)
Crosswind - "Heaven" (5:17)
Bugs Beddow - "Life" (5:43)
Astronauts, Etc - "I Know" (demo version) (3:44)
JR Quintet - "Factory Rhythms" (8:41)
MF Robots - "Make The Call" (extended version) (6:03)
April Fulladosa - "For Us" (3:35)
Kirk Reed - "California" (Shawn Lee mix) (4:01)
The Ambassador College Band & New World Singers - "Smile Upon Your Brother" (2:52)
John Standefer & Friends - "Easter Suite" (edit) (2:06)
Review: Mark GV Taylor and George Arthur are the deep diggers behind this new compilation on BBE and it takes its same from their own Reference Point events which pop up all over the place. They are known for travelling far and wide through various genres to explore lesser-known niches and that's what they do here with a broad and brilliant mix from across the ages. Across 15 cuts they serve up jazzy vocals numbers, 1970's Brazilian jazz and everything from soul, jazz, fusion, electronica, yacht rock and plenty more. Many of the tunes are hard to find in their original form, but some are much cheaper but totally less well-known - until now.
Step By Step - "Ik Laat Me Niet Belazeren" (CD 2: bonus CD with Full Length tracks)
Monica Rypma - "Ik Hou Veel Van Jou"
Bloedgroep O - "Slow Motion"
Francis Verdoodt - "Tegelliedje & Herrie/Gevaarlijk" (Harde Smart edit)
Rob Glotzbach - "Hoofdstuk 1"
Noodweer - "De Toekomst Laat Me Koud"
Jan Hautekiet - "Nachttrafiek"
Peter Praet & Praters - "Enkel Proberen"
Omar & The New Sound - "Drugs"
Joost Belinfante - "Zonder Woorden"
De DIV - "Teken De Tijd"
MAM - "Ongelofelijk"
Cocododo - "Roekoe"
Kurt Van Eeghem - "Cool He, Jongen"
Nadagen - "Onder 4 Ogen"
Mensen Blaffen - "Braziliaanse Woud"
Wim De Craene - "Hoor"
Review: Five years ago, Sban Records unleashed Harde Smart, a fine collection of Flemish and Dutch records of the 1970s heavily influenced by Black American funk, soul, and dance music. This belated follow-up focuses on the 1980s, a decade in which the influence of American AOR, disco-rock, boogie, synth-pop and electro could be heard across plenty of releases by Dutch and Belgian bands. Highlights include the blue-eyed, synth-powered dreaminess of 'Drugs' by Omar & The New Sound, the P-funk-influenced flavours of Joost Belinfante's 'Zonder Woorden', the Zouk-splashed tropical boogie of De Div's 'Teken De Tijd', and the post-punk new-wave eccentricity of Nadagen's 'Onder 4 Ogen', which sounds like a Dutch take on Sheffield band Chakk.
Review: Although born and raised in Holland, the duo behind the Yin Yin project "make music for an imaginary tropical Island" based "somewhere between the Netherlands and South East Asia". It's an apt description of their undeniably humid, wide-eyed style, which variously combines elements of surf-rock, dub, psychedelia, ambient, electronica, spaced-out synth-pop and various traditional South East Asian musical tropes. It's a style that makes this long promised debut album a unique, distinctive and hugely vibrant listening experience. While inventive and colourful, their music is also largely dancefloor friendly and highly addictive. In other words, this is one debut album that's well worth picking up.
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.