Review: After building a reputation via a swathe of rock solid, digital-only EPs on About Disco (an imprint he founded in 2015), Rafael Cancian has finally been given a chance to showcase his wares on wax. There are lots of top-notch edits to enjoy on the Brazilian producer's first Razor-N-Tape outing, from the sax-powered, solo smothered disco-funk cheeriness of "C'est La Douceur", to the low-slung South American disco grunt of "Fragil" and the jazz-funk tinged carnival goodness of superb closing cut "Besos Libres". There's no needless production trickery or shamelessly beefed up house beats, just perfectly DJ-friendly rearrangements of obscure, little-known gems.
Review: Since 2012, Munich duo COEO has served up a swathe of sample heavy, disco influenced house EPs for such labels as Let's Play House, Toy Tonics, Lagaffe Tales and Razor-N-Tape Reserve. Here they pop up on Razor-N-Tape's main edit label with something different: a quartet of traditional scalpel works from their personal stash. First up is the elastic, horn heavy disco-funk of "Express Lane", which is quickly followed by the skewed Arabic boogie-funk brilliance of "Libyan Sun". Over on side B, "Don't Oho" is a breezy revision of a sun-kissed Afro-disco workout that sounds like it would be capable of causing a commotion in the club, while "Move Your Body" makes merry with a warm, rich and intoxicating early '80s boogie-soul jam of unknown origin.
Review: Texan psych-funk fun time outfit Golden Dawn Arkestra get some remix treatment via this double pack from Razor-N-Tape, which leads in with Austin Ato's positively dreamy deep house version of "Children Of The Sun". JKriv takes on "Cosmic Dancer" and makes it into a slick disco-fied workout that adheres to the RNT vibe, while Dicky Trisco takes the track and makes it into a suitably interstellar strutter heavy on the synth lines. Then then the second slab of wax offers up a side each to the original versions, from the Afrobeat-indebted "Children Of The Sun" to the sweet and starry-eyed disco of "Cosmic Dancer".
Review: Having built up a rock solid reputation via a handful of fine rework EPs on his own Orange Tree Edits imprint, Jimmy Rouge has been snapped up by Aaron Dae and JKriv's Razor-N-Tape imprint. He's in fine form on this label debut: A-side "So Long" is a quirky but undeniably peak-time-ready affair, with hazy, dewy-eyed vocal snippets and bold, Moog style synthesizer motifs rising above dusty, full-throttle drums and a warm, metronomic bassline. He moves further towards shirts-off disco territory on flipside "Movin'", a thickset and energy-packed affair whose mind-altering, delay-laden vocal snippets will appeal to all those who enjoy the output of the Idjut Boys and DJ Harvey.
Review: Razor 'N' Tape's two previous servings of Dimitri From Brooklyn edits (and, yes, they're the work of legendary DJ/producer Dimitri From Paris) were both must-haves, so hopes are naturally high for this third volume. Predictably, the disco-loving Frenchman is on fine form once more, laying down a trio of interpretations that breathe new life into classic jams. While the A-side "Kettle America" (say it phonetically) is something of a cheeky treat - impressively chopping between hard-wired guitar riffs and the original track's bustling disco groove - it's "I Knead You", an end-of-night, lights-up version of a Sylvester cut that smartly emphasizes the song's gospel origins, that really sparkles. "Without Rob", a harmonica-heavy rearrangement of a well-known favourite, completes another essential package.
Review: Given their deep-rooted knowledge of the re-edit scene, it was probably only a matter of time before the Razor 'N' Tape crew turned their attention to Colombian scalpel fiends Felipe Gordon & Vagabundo Club Social. This outing on Aaron Dae and JKriv's imprint could well be the South Americans' finest work to date. We're particularly enjoying A-side "Shakala", a gently tooled-up and dubbed-out revision of a dusty, tropical disco-funk treat rich in Fela Kuti style Afrobeat grooves, rising horns and flanged guitar riffs. That said, we've also got a lot of love for the fiery horns, bustling rhythms and warm bass of "Los Bareteros" (a revision of a well known, boogaloo-era Afro-Latin jazz dancefloor classic), as well as the similarly minded - but altogether heavier - "El Cateter".
Review: Suave Parisian scalpel-botherer Dimitri From Paris continues to churn out top notch re-edits, slightly altering his famous production persona from label to label. Here, he delivers a second 12" for Razor 'N' Tape under the Dimitri From Brooklyn alias. Like its' predecessor, it features a couple of stone cold bangers. "Right My File" offers a thunderous, housed-up take on a lesser-known cover version of Dan Hartman's grandiose disco smasher "Relight My Fire" - all vocal breakdowns, big builds and big-lunged sing-along moments. As for "I Want Your Back", it re-casts Dimitri as The Reflex, laying down a version of The Jacksons' "I Want You Back" that sounds like it was done from the multi-track parts. It is, of course, dancefloor dynamite.
When I'm Alone (JKriv & Peter Matson remix) (6:14)
Review: Adeline is undoubtedly best known for being the front-woman of Brooklyn-based disco band Escort, an outfit whose members also included Razor-N-Tape co-founder JKriv. It makes sense, then, that her latest solo single is appearing on their "Reserve" offshoot. Co-produced by Midnight Magic man Morgan Willey, "When I'm Alone" is a revivalist leftfield disco cut rich in "Beam Me Up" style walking bass, ear-catching guitar riffs and lolloping drums - all topped off by a fantastic vocal from Adeline. Jacques Renault delivers a slightly heavier, house-influenced remix with subtle Italo-disco style arpeggio lines, while Dirty Channels offers a more bustling but still pleasingly organic sounding disco-house take. Finally JKriv joins forces with Peter Matson on a remix that sounds like vintage Escort with added dub delays.
Review: Some six years on from his first edit outing on Razor-N-Tape, Frank Booker returns to the storied Brooklyn imprint with another batch of fire revisions. Leading the charge is the thrillingly low-slung A-side "Be Yourself". This is a driving slab of floor friendly disco that incrementally builds from a spacey, groovy start to a celebratory, string-laden conclusion. Just as good is "More", an elastic disco-funk outing that tightens up and extends a vaguely familiar workout and sounds like the kind of rearrangement that will create pandemonium when dropped at the right time. Finally, Booker dips the tempo considerably on the slo-mo space disco chug of "Starship", perfect for a rooftop boogie.
Review: Kevin Gorman aka Adesse Versions brings his cut and paste ethos to Brooklyn edit series Razor-N-Tape with a varied pair of heaters. On this wicked two tracker, the label takes it back to their early format of one track per side: and these two cuts can certainly carry it! On this side we've got "Bumpin' NYC" a lo-slung disco classic with that proper New York City vibe, if ya catch our drift? On that side, we have a lovely little number in the form of "Sistem" that flips an afrobeat sample into a dark and groovy club track with even a little bit of acid for good measure.
Review: Having got the juices flowing via a split re-edit release with Jacques Renault earlier in the year, Cosmic Kids member Daniel T returns with his first full solo EP of floor-ready reworks. Arguably the most ear catching of the lot is "Trinidad Trouble", a fiendishly percussive, cowbell-laden tropical disco affair blessed with carnival-ready flute flourishes and heavily accented Trinidadian vocals. It sounds like a genuinely sweat-soaked peak-time treat. The hits keep coming elsewhere across the EP, from the "do the Bus-Stop" hustle of Blaxpolitation disco rework "Hit The Streets", which provides a seriously strong opening gambit, to the leisurely, laidback and sumptuous sounds of trumpet-sporting afternoon delight "Penguin Vacation".
Review: Who can deny anything Roy Ayers, really? Japanese pianist and electronic music producer Kan Sano reworks the American soul, funk and jazz legend's infamous hit "Everybody Loves The Sunshine". He breaks down the sugar-dusted original into something freeform, downtempo and acid jazz leaning, while on the flip, "Music Overflow", sounds exactly like a production you would make after being inspired by sunshine, soul, Roy Ayers and a room full of drum machines and synthesisers.
Review: On the two releases we've heard to date, Cody Currie has barely put a foot wrong, delivering a string of tracks that brilliantly join the dots between dusty, soul-flecked U.S deep house and hip-hop style sample-based beat jams. For this outing on Razor 'n' Tape Reserve, he applies the same approach to the world of disco and boogie. So, we get the rolling, sun-kissed warmth and gentle filter tweakery of wide-eyed disco house shuffler "Movin' Smoke", the slack-tuned jazz snares, swirling chords and bubbly synthesizer samples of "Infinity I & II" and the swirling, string-drenched orchestral disco-house bounce of "Magic City". Arguably best of all, though, is the more driving "Make Love", where Currie's ability to select and manipulate samples within a bumping deep house framework is best exemplified.
Review: Brooklyn's Razor-N-Tape reach out to the Lowlands and coax Hans Peeman into donning his Junktion alias for a new four-track 12" on their Razor-N-Tape Reserve label. Living up to it's dignified and reserved billing, this fifth release on the offshoot finds the Nijmegen-based Peeman laying down some luscious, colourful disco vibes that will brighten up any sun laden afternoon on the terrace. Title track "Hot & Bothered" sets the tone with a summery vibe underpinned by some bumping drums, whilst "I'm wishin'" glides with a subtle house bump and some wonderful vocal touches. "Fling Cleaning" sees Peeman veer off into disco chug territory, whilst "Visions of You" ends the 12" on a soulful note.
Review: Since serving up a tasty debut album back in 2011, Magic In Threes has provided sporadic dose of funk-fuelled delight that variously draws influence from jazz-funk and soul. The three original tracks included on the combo's first Razor 'N' Tape reserve appearance fit this formula, layering up live horns, guitars and drums with loose and heavy results. Title track "Work Tapes" is a Blaxpolitation funk affair with subtle disco flavours, "Come On Down" is an Isaac Hayes style orchestrated disco-funk roller, and the superbly summery "Chupa Cabra" sounds like it could have been made in Brazil around 1979. All three tracks are given the remix treatment, with Patchworks' Afrobeat revision of "Work Tapes" and Fouk's hybrid jazz-funk/disco-house version of "Chupa Cabra" standing out.
Review: A faceless producer, rumoured to be from Scotland and getting his 'revenge', appears here for the seventh release on Razor-N-Tape Reserve after great sessions by Caserta, Dirtytwo and Pools. On "Backchat" it's a looped up, boogie down affair complete with synth sax and pan pipes which support an obscure Steve Winwood sample. Absolutely electric and you're sure to get some hands in the air moments with this one. On the flip is a dub version that forgoes all the bells and whistles and works a razor sharp (mind the pun) arpeggio instead, for a more serious and late night version.
Review: Earlier in the year, Rio de Janeiro-based duo Balako made their debut on Barefoot Beats, sharing the billing with Eddie C on a tasty 10-inch single. The chaps at Razor-N-Tape were clearly impressed, because they've given the Brazilian twosome a 12" on which to showcase their edits. The hit the ground running with breezy opener "Batuque", which sees them add heavy, elongated analogue bass notes and delay-laden drum machine percussion to a suitably summery and glassy-eyed chunk of mid-tempo Batacuda positivity. Elsewhere, "Deixa Acontecer" turns a sweet salsa offering into a throbbing, Italo-influenced delight, while "Honey, Honey, Honey" sees them make merry with a wonderfully low-slung Brazilian disco epic rich in stripped-back bass guitar, druggy synthesizer arpeggio lines and sparkling electronic melodies.
Review: Philadelphia's own edit kings Superprince return on Razor-N-Tape with four more heaters, all guaranteed to find a place in your record bag. The funky and percussion driven disco of "TKO Dance" leaves little imagination to the source - it's an oldie but a goodie! The slo-mo and jazzy lounge antics of "Keep It Real" are new to our ears, but we're sure it needed an edit - and it's a respectful one at that. On the flip, they save the best for last with the sexy disco inferno that is "You Are Here" ('possibly' a reference to the legendary Mr Mouzon) while an underground goodie by a one hit wonder from 1982 gets a well needed second coming on the neon-lit funk shenanigans of "Special".
Review: On their latest 12", the Razor 'N' Tape crew has looked to Berlin, rather than Brooklyn, for inspiration. As the title suggests, the man at the controls this time round is Oye Records founder Markus "Delfonic" Lindner. He hits the ground running with "The Flow", a deliciously loved-up interpretation of one of the sweetest, baggiest and dewy-eyed disco-soul tunes around. While undeniably floor-friendly, there's no attempt made to beef up the track unnecessarily, with Lindner's addition percussion tending towards the subtle and reverential. Those hankering after something a little sweatier should check the disco-funk hustle of "SPF" (which comes complete with some seriously spacey synth solos) and Lindner's excellent rearrangement of a lesser-known cover of O'Jays classic "I Love Music".
Review: Brooklyn label Razor-N-Tape get in on the Record Store Day action with this 10" edition of Beatin Tha Breaks from Nashville-based Magic In Threes. It's the remixes that come first, with Dutch artist Fouk going into similar house territory to Kenny Dope with plenty of live instrumental touches blessing the bristling percussion. It's a totally different vibe on the Freddie Joachem remix, with the Californian opting for some midtempo funk breaks that stay closer to the sound of Magic In Threes' original version . This closes out the RSD release on the B-side and is an easy-breezy affair dripping with soulful guitars and harmonies.
Review: French producer Yuksek has released rather a lot of music over the last 15 years, though this appears to be his first ever collection of re-edits. You'll want to check tasty opener "How I Love To Dance", a lolloping rendition of a quirky and obscure disco number rich in Patrick Adams style instrumentation and well-placed dub delays, while the drum-heavy "The Beat" features waves of wonky percussion, a pulsating bassline and plenty of sweaty FX. Elsewhere, "Think Of You" is a head-bobbing revision of an AOR disco/disco-rock cut that sounds like it could have been re-edited by Eric Duncan, and "Dance In Disco" is a seductive Gallic disco chugger rich in heavily accented English vocals and jazzy electric piano solos.
Review: Moscow's Arsenii is up next on New York City edits imprint Razor N Tape. Following up the great Allegria on Basic Fingers last year, he's back with some more obscure oddities spliced to perfection once again. He takes the razor to "Son of the Sun," which the label themselves describe as "the Shaft-in-outer-space drama" (and we agree completely) to the 'proto-balearic lilt' of "Jungle Melody" by Pierre Dalmon and of course the big band funk of "Fool Like A Child"; more commonly known to some as Christian Gaubert's "Sweet And Fool Like A Child" from 1979.
Review: Last year, Marcel Vogel dusted down his Em Vee edit alias for the first time in three years, serving up a tasty four-pack of reworks for OYE's ongoing Edits series. It clearly inspired him to make more reworks, because now he's popped up on Razor-N-Tape with another fine selection of scalpel revisions. He begins by reworking a tongue-in-cheek chunk of disco silliness rich in spacey Moog lines and wonky vocals ("You Move Me"), before tweaking and rearranging a superb chunk of Latin-tinged tropical disco ("Spreading Energy"). "Don't Be Sabi Say" is a high-tempo chunk of Afrobeat/Afro-disco fusion full of ear-catching Nigerian vocals and bustling electric piano riffs, while "I Wish I Knew The Words" is a cheeky revision of an obscure Japanese synth-boogie number.
Review: Brooklyn label Razor N Tape return with some razor sharp edits from the personal armoury of Frank Booker, Anyone who keeps a left eye on contemporary deep house and disco should be familiar with the Auckland based DJ, producer and co-host of the Hit It & Quit It radio show with Recloose; in fact those that aren't should enrol in disco night classes right now! Those might help you ID the source material on the two edits from Booker here, though the gliding horn heavy funk and distinctive grunts of A Side rework "Skin" should be all the clue you need. On the flip, the loose limbed percussion and rising Philly strings of "Interstellar" provide equal doses of dusty disco delight.
Review: Back In The Day marks the second appearance from Local Talk regulars Dirtytwo on J Kriv and Aaron Dae's Razor 'N' Tape imprint. Like their last outing, Back In The Day sees them offering up an impressive blend of bumpin' house and filter-heavy re-edits with a heavy emphasis on party starting. While the murky, basement-bothering title track, and Daniel Leeseman's baggier, disco-house rework, are impressive, it's the EP's other two tracks that are really floating our boat. Check, in particular, the string-laden, bass-heavy sleaze of "Last Night", which boasts a spine-tingling breakdown and some decidedly sweaty female vocals. That said, the slower "Estrelar" - a chopped-up, looped, filter-fiddling rework of the Marcos Valle track of the same name - is also rather fine.
Review: Inspired by early 90's house music, Toshihiro Moriguchi aka DJ Monchan has been spinning many genres, as well as producing disco edits and deep house for over a decade in New York City. The Brooklynite steps up to perform some surgical edit wizardy on four mouth-watering tracks for purveyors of the finest quality disco - Razor-N-Tape. Late night boogie down vibes are catered for on the joyous disco gem "Reaction Control", while you'll find something more of a classic soul/funk tip on "Dance It All Out" before getting back to the late-night NYC soirees of the 70s on the sexy vocal-led sway of "Get Down With Your Love". TIP!
Review: In the super saturated and competitive scene of disco edits, it takes a lot to differentiate yourself from the pack. Enter New York City's Razor N Tape. What do they bring to the table that is different, you may ask? They offer up what they call 'respectful edits'. Got it? There are the ones you can trust and play with confidence. On this volume they present Al Tone, who are known for their eponymous rework series. The duo comprised of Chicagoans Al Bumz and Tone B serve up some lovely Afro boogie on "Feelin' Irie" and some pitched up soulpower in the form of "Simone Manuel". On the flip, there's a familiar hook on the vocal driven deep disco resplice of "Groovin'" then they take us home with the Theo-esque looped sax and falsetto gallup of "Wishes".
Review: Fresh off a 12" appearance on Dirt Crew alongside Harry Wolfman, Manchester-based DJ and producer Loz Goddard is back on a solo flex with the Drunken Monk EP for the Reserve sublabel from NYC edit crew Razor N Tape. Four tracks deep, this 12" has that slinky, glossy feel to it that sounds just right on Razor N Tape, with the Love Unlimited Orchestra does disco house shuffle of "Lovin'" the pick of the A-side cuts. Flip over and "Moovish" sees young Loz veer off into heavily filtered house territory, throwing in what sounds like some nifty RAMP sampling while he's at it. The appropriately-titled "Something Special" rounds out the 12" in fine style with a bit of a French Touch.
Review: Given that Juan MacLean has released almost all of his music on DFA, we were rather surprised when this Razor 'N' Tape Reserve 12" showed up. We suspect that these are sample-heavy dancefloor tracks from MacLean's personal stash - the kind of cuts you regularly hear in his DJ sets but have previously not seen the light of day. Check, for example, the percussive peak-time romp that is muscular disco loop jam "Fine Time" and the classic boogie-meets-NYC house fusion of "Don't Stop For Nothing", which tips a sly wink towards Toney Lee classic "Reach Up". Elsewhere, "Everybody Clap" is a dustier, looser and hazier deep house excursion, while "Panic In Fort Greene Park" sees MacLean smother a trippy and hypnotic groove in spacey motifs and acid-style electronics.
Review: It was probably inevitable that Let's Play House co-founder Jacques Renault would eventually make an appearance on another Brooklyn institution, Razor 'N' Tape. Renault is, of course, a serial re-editor with a string of fine EPs to his name. There's predictably plenty to set the pulse racing across the four tracks, from the jazz guitar-laden disco-funk hedonism of opener "Cold Blooded", to the loose and punchy, horn-heavy warmth of hazy Afro-disco closer "That Sound" (which, thrillingly, includes a tweaked, teased, dubbed and extended percussion break). In between, you'll find the high-tempo disco-pump of "Dream Machine" and the piano-laden funk workout "Get Down".
Review: Two years on from his first appearance on Brooklyn's finest re-edit imprint, Martin Hayes returns with a second salvo of DJ-friendly disco revisions. The Leipzig producer goes for the jugular from the start, delivering a slightly straightened-out, house-friendly tweak of a celebratory disco gem on boisterous opener "Easy Come Easy Go", before serving up a sizeable edit of a slo-mo orchestral disco groover ("Tiff"). He returns to peak-time pastures via EP highlight "Turn You On", a wickedly up-tempo anthem built around razor-sharp strings, jaunty piano riffs, bustling beats and a seriously good "walking" bassline. To round things off, Hayes delivers "Love Shine", a far warmer and groovier concoction blessed with breezy piano riffs, extended percussion breaks and incessant vocal snippets.
Review: Like many producers, Martin Hayes has built his career on the twin pursuits of original, sample-heavy house production and floor-friendly re-edits. This 12" sees him reaching for the scalpel once more, delivering a quartet of killer cut-jobs for Brooklyn's mighty Razor 'N' Tape. He begins with the rubbery bass, punchy horns and sweaty disco percussion of "Get On Down", before offering a perfect balance between low-slung strut and epic, string-laden brilliance on the even better "Make Me Dance". Flip for the percussion-heavy disco-funk workout "Tight Spot", and the atmospheric funk breaks, glistening guitars and spacey delays of EP closer "Ol' Funky Music".
Review: Not to be confused with Trevor Jackson's covert edit alias of the same name from the mid '90s, Chicago scalpel wielder Leonard Part Sixx brings his Underdog project to New York's finest Razor N Tape for a hefty double pack. "Drum Jawn" sets the bar high, a percussion heavy version of early '80s German curio "Din Dada" by George Kranz that seems geared to set new records for the amount of drum samples used within the space of a track. From here, proceedings veer off down a classicist vocal disco wormhole - blessed with some modern squelches and groove twists from the Underdog - on "Love Is Da Need" before the second platter opens with the brushed honey soul strut of "So Damn Good." Sir Leonard rounds out the double pack with a slab of '80s disco funk in the shape of the heavy flexing "Just Fakin' It."
Review: Brooklyn-based Razor 'N' Tape has some serious pulling-power these days. Having already released material from Dirtytwo, Mr V, Loz Goddard, Kraak & Smaak and Fouk, the New York imprint has managed to score an EP from Mister Saturday Night regular Nebraska. Predictably, it's a party-starting affair from start to finish. Bouncy, horn-heavy disco-house A-side "Drill Deep" - a weighty chunk of unashamed peak-time goodness - leads the way, with beatdown-tempo shuffler "Keep On Keeping On" snapping at its heels. This bubbles along tenderly via swirling disco orchestration, before bursting into life midway through thanks to the introduction of a sublime female vocal. "Instant Pressure", a chunkier, dub-flecked fusion of dewy-eyed soul and low-slung acid bass, is also superb.
Review: For his first outing on Razor 'N Tape, Parisian soul slinger Reverend P brings his signature touch on these four tasty edits. The A side is hot with the well worn but ever funky "Feel The Heat" then finishes sweet with "Strong Enuff," a rework of an often overlooked soul burner. On the flip, there is have the crooning and swooning late-nite vibes of "The Way You Get Me" followed by "Soul Fire," a clever bit of edit cheekiness that's sure to turn some heads and get you moving your behind!