Search results: DC-10

Review: The ever-playful and seriously skilled mash-up and edit maestro The Reflex has been out in a class of one for many years. Few in his field managed to cook up the sort of delicious disco brilliance that he manages and this new 12" on the fledgling Discolidays isn't going to change that perception. 'Overture' (The Reflex Revision) is a glorious fusion of instrumental disco and withering sci-fi designs next to a catchy as hell vocal. On the flip, things head south with Latin melodies and percussion and glorious flute lines bring the joy to 'O Ba Ba' (The Reflex Revision).

Review: Another great gem from Casablanca. D.C. Larue is a songwriter and instrumentalist who emerged in the mid-'70s with a series of heavily orchestrated, disco-
orientated instrumentals with vocal refrains. 'Let them dance' is one of the records you should have in your collection. b/w Dennis Parker's 'Like An Angel'.

Review: Six years is ages for a band to go without releasing an album or doing very much. But for AC/DC, whose work rate has always been ridiculously high, it's a very, very long time. Between then and now, the band lost their lead singer, Brian Johnson, to hearing difficulties in the middle of their last tour, and saw drummer Paul Rudd arrested in New Zealand for 'attempting to procure a murder'. Talk about impetus to finally call time.

But then these are the guys responsible for one of history's greatest heavy rock triumphs, 1980s's Back In Black, released just months after formative frontman Bon Scott tragically passed. So it's no surprise Power Up, another post-traumatic release albeit an act of reunification with now (relatively) healthy Johnson and innocent Rudd returning, is among their best in the 40 years since. A comeback record that sounds exactly like AC/DC should - ballsy, bluesy, boozy riffs.

Review: Irish post-punk band Fontaines D.C. last appeared don our radar when the Baron of Techno MR Dave Clarke was busy remixing them. Now comes this deluxe and 180g gatefold album Skint Fa with an alternate cover and 20 page lyric book. This is the band's third album in as many years after 2020's A Hero's Death saw them hit the number two spot in the album charts and pick up nominations at the GRAMMYs, BRITs and Ivor Novello Awards. After a sell out tour at Alexandra Palace that now serve up more darkly political ones, thrashing riffs and hard edged drums.

Review: Although best known for the soaring anthem 'Cathedrals' - a 1976 gem that has been reissued many times - there's much more disco gold in the D.C Larue catalogue to find and play. It's ripe for remixing, too, as this fine EP proves. Opolopo steps up first to deliver a suitably grandiose, Tom Moulton style rearrangement of 1978 cut 'Do You Want The Real Thing' that smartly alternates between Clavinet-sporting groove sections and more overblown, hands-in-the-air instrumental sections. Over on the flip, Dr Packer gets his disco-funk on (minus the house beats he often employs) on a celebratory revision of 'Let Them Dance', before the Knutsens reach for star-fall electronics, throbbing arpeggio-driven bass and righteous orchestration on a delightfully full-throttle revision of 'Indiscreet'.

Review: You might well have seethe new Glitterbox documentary. It was two years in the making and is all about the communities and friendships formed through dance music. Taking its title from the Alison Limerick classic, it now lends its name to a two part compilation of tunes that featured in the story. The second volume is packed with extended mixes of plenty of cornerstone classics. There is raw as you like stuff from Mike Dunn, glossy sounds from Horse Meat Disco and party starting tunes from the likes of Mousse T whose full flavour house mix of Powerdance's 'Power Dance.' is a real doozy.

Review: This new grey vinyl double album is a celebration of the musical influence of the great singer-songwriter Nick Drake on the many musicians who came after him. Over 30 of them in all got involved with The Endless Coloured Ways, a collection of songs of his performed and recorded from a whole mix of different backgrounds, genres, age groups and audiences. Each of them brings their own perspective and a timeless take on the original material with the likes of Fontaines D.C to Guy Garvey as well as many more all making the cut.

Review: Black Fire was an influential spiritual jazz and conscious soul label that is now the subject of a first ever compilation. It has been put together by Strut and covers the years 1975 to 1993, showcasing a rich mix of jazz, deep African polyrhythms and empowering lyrics across plenty of classics and rarities. The highlights are plentiful and the comp also comes with extended sleeve notes around the black-owned label's rich history, as well as a reprint of one of the original Black Fire magazines published by founder Jimmy Gray. This is a real piece of black music history.

Review: Following up releases by the likes of Mark Seven, Florist and Cygnus, Ari Goldman's Washington D.C-based World Building returns with this awesome varioust artist compilation. Neighborhood Watch Volume One features a wide selection of moods and grooves: NativeSun vs JamesBangura get stuck into some dark dubstep on 'Demon Mode' much like The Khan does later on the deeply meditative 'Part Of Me (Ode To DC), while Sami gets their swing on with the classic house of 'Marty & Jack', Juana's tunneling 'It's Low' gives you a dose of heroin house and over on the flip Max D gets deep down and dirty on 'No Snare'.

Review: Ferry Djimmy is quite the character - he is a mysterious Afrobeat figure who also was a former schoolteacher, boxer, Jacques Chirac's bodyguard, and well as being a legendary Beninese musical visionary. He recorded this album sometime in the mid-1970s in support of the revolutionary leader of Benin at the time - Mathieu Kerekou. A fire is reported to have turned all but 200 copies to dust so it is mega rare and expensive to get an original. Acid Jazz reissues it here in all its fiery, lo-fi, gnarly Afrobeat glory. This is a fully licensed project with all new and in-depth sleeve notes by Florent Mazzoleni.