Review: Last time we heard from Cleon and Jazzy Pidjay, otherwise known as Last Bongo In Paris, was back in 2013 on EDR...and here they are back on the same label, and out the bottom of a hat. Similarly to last time, "Bahia Swing" manages to conjure the right balance between jazz, funk and something a little more tropical, a sound and panache that is carried through to the following four cuts of juice. Our favourites are "Ritmo Loco" for its Latin energy, and the delightfully broken "Jarumba". If you're looking for something a little jazzy and saucy, but that pushes beyond the genre's natural confinements, this is it.
Review: It's may seem that deviant disco champs par excellence Bahnsteig 23 are already toasting to their 50th release, but in truth their catalogue started at 23 so don't be fooled. Instead, just feast on another salvo of seedy body music from Ziggy, which leads in with the synth-soaked pump and thrust of "Trance Gigolo" before switching to the sassy 80s funk of "Yo Let Her". Things are just as cool and deadly on the flip as the slap bass electro meanderings of "Amfobia" brew up a post-punk disco delight with a schlocky horror twist, and "Freaky Leaches" leaves things on an ominous note via a swampy trip through the mangroves with only a steady ticking rhythm section for company.
Review: Thomas Smorek, aka Dunkeltier, was last seen lurking on Bahnsteig 23 back in 2015, and now he's back under a fog of VHS fuzz with madcap sampling and off-kilter disco freakiness in abundance for all the freaky dancers. "Arcade" has a motorik pulse to it, and one of the best warbling bell chime sounds we've heard in a long time. It's a creepy, but deceptively funky beast. "Arabian Town" is a more post punk flavoured cut with raw live instrumentation and vocals that seem to channel Joy Division, Siouxsie & The Banshees and The Cramps in the same breath. "Ce Soir" is a synth heavy affair purpose built to disorientate and disturb, while "The Blade" brings a stomping industrial death march mixed with twanging psych guitar ramblings. Yet more distinctive heat from the Bahnsteig crew then.
Review: At long last! The 15-strong collection of nu-disco, boogie, cosmic and deep originals and edits landed digitally last November. Finally the vinyl's arrived with four of the many highlights all pressed to vinyl and sounding all the richer for it. Highlights among these highlights include the dubby rumbles of Saine's "You Can Count On Me", the velvet funk chugs of "Singapore Sling", the undeniable Cathy Denisisms of Robjamweb's "You Know How" and the soft focus mid tempo synth sleaze of "Chief Inspector".
Review: As a member of several chart-topping groups and an in-demand producer in his own right, Thami Mdluli was something of a superstar on South Africa's "bubblegum" scene during the 1980s. Yet as the decade progressed, it was for his club-focused instrumentals - released under the Professor Rhythm alias - that he became most celebrated. By the time this album was first released in 1995, he'd helped to develop the now celebrated "Kwaito" style of house-influenced South African dancefloor fusion. Bafana Bafana does contain some distinctive kwaito moments, but for the most part it just sounds like a gloriously South African take on mid 1990s U.S, Italian and British house music. Crucially, it's also superb, like some long lost '90s house album made in Jo'burg, rather than New Jersey.
Review: Former Concord Dawn man Evan Short last recorded as Kiljoy in the early 2000s. In fact, this boisterous outing on Function Records appears to be his first outing under the alias for 14 years. Now based in the Cook Islands and working as a fraud investigator (true story bro), Short has lost none of his dancefloor fire or focus. "Bad Man" is particularly potent, with the New Zealander peppering a blistering jungle rhythm and heavyweight bassline with angular rave stabs and fizzing sound effects. "Air Raid" is similarly retro-futurist in tone, with foreboding and doom-laden riffs buzzing around another formidably sweaty old school drum track and aggressive bass.
Review: This release features two of Harold Melvin & The Blue Notes' recordings that typify the cream of Philadelphia International and Sigma Sound studios' dominance of the dancefloor - at the absolute height of their creativity and power. They were one of the most popular groups on Gamble & Huff's label, clocking up a number of hits in the mid 1970's. "Bad Luck" spent 11 weeks on the No.1 slot on Billboard's U.S. Dance chart in 1975 and has since become one of the biggest dancefloor staples ever recorded. It gets a remix by the master Tom Moulton for added club dynamics. On the flip, we have the original full version of the classic "Don't Leave Me This Way" which is also mixed to perfection by Moulton. Both are state of the art lessons in what exhilarating dance music is all about. Fully remastered on limited edition 180 gram heavyweight vinyl.
Review: One of the few records Atlanta legend Lee Moses ever pressed, the highly sought after "Bad Girl" enjoys its first official reissue since 1967. So good it stretches over two sides, Moses' powerful bluesy delivery hits hard while the band keep a tight grip of his emotions from start to finish. Gutsy, grainy and still just as powerful as it was 52 years ago; there's a reason the original has consistently fetched triple figures among collectors for all this time.
Review: The soulful title track to her album of the same name, "Bad For Me" is remixed here with a bit more flair by Larry Levan! The tune skips along at a really upbeat little pace, not really club but with more of a boogie flavour overall and it's backed by a mellower number with some jazzy George Duke production!