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Orange Tree Edits build on their rock solid catalogue with this stellar Vinyl EP debut from Ukranian DJ Yucca Mü.

Richly textured A-side ‘Bluebird’ samples a Soviet era Sci-Fi film to assemble a delightfully weird and wonderful, at once ethereal, refreshing and playful dancefloor heater. Church bells, choral hymns and villainous voiceovers layered on top of a rolling, chuggy low-end propel this tune into peak time territory. A tender church choir acapella outro is a joyous highlight - think festival closing time.

The flip side cut ‘Femme Symbole’ offers up organ stabs alongside swirling grand piano and a sensuous vocal to produce a belter of an edit built for the dark and steamy dance zone.

With support from Hunee, Jonny Rock, Lauren Hansom, Bell Towers, Nicola Cruz & Paula Tape you know you need a copy!

Marvelous Legofunk Records offer up new stuff with 4 track ep on black wax.

Boogie business done right sounds, sauntering and primed for a party. Maximum pleasure for the dancefloor guaranteed!

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.

“Marbles” originally came out late in 1970, the result of a collaboration between the fiery British guitarist John McLaughlin and drummer Buddy Miles. Miles was hot off his time with Jimi Hendrix, and producer Alan Douglas, who’d been instrumental in putting together the Band of Gypsys group, attempted another crossover combination with a brand new, blazing guitar god. Also on the date was Larry Young, an organ player best known for his expansive jazzy albums on Blue Note, and several veterans of Buddy Miles’ funk-rock combos. The resulting mixture produced in “Marbles” a powerful, driving rhythm anchoring an addictive riff that steamrolls through the cut in a fashion not unlike the motorik sound of Velvet Underground or Can. Mr. K’s edit leans heavily on the drums, naturally, with a long, tailor-made intro and a mesmerizing focus on the main riff, extending things well past the seven-minute mark.

Ten years later, the world of music was in an entirely different place but a good guitar riff coupled with a driving beat was still powerful currency on the dancefloor. This time, the group was Scottish new wave-punk group APB, whose single “Shoot You Down” had garnered unexpected peak time play in cutting edge NYC hotspots Danceteria, the Peppermint Lounge, the Ritz and the Mudd Club. “Shoot You Down” combines the urgency of the Clash with the free for all vibe that characterized the downtown scene (and throws in a chant borrowed from P-Funk for good measure). Mr. K has created a long instrumental opening that leads into the vocals, giving the tightly-wound 7-inch single a proper extended 12-inch treatment it deserved but never had before.

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.

Casual Connection coming correct with another slice and dice of mashup madness for this seriously sought-after series. Pure heaters with that certified bass weight backing up the dance, these are two ‘90s R&B classics like you’ve never heard them before.

Once they’re in your bag, they ain’t never gonna leave.

If there was ever a dance oddity it’s the bizarrely named single ‘Prisencólinensináinciúsol’, released in late 1972 by Italian entertainment icon Adriano Celentano, first appearing as a 45 on his own Clan label. A cult favourite if there ever was one, GW Edits kicks off their label with a sumptuous edit sewing the A and B side of the record into an 11-minute masterpiece named ‘Adriano Italiano’.

Renamed ‘The Language Of Love (Prisencol…)’ for the UK market, the original failed to make any impression on the UK chart instead becoming a cult DJ treasure. The fact that it was regularly reissued over the next few years illustrates its enduring appeal.

The novelty of its title and zany nonsensical lyrics may have caught the attention, but what sealed the deal was that groove! On top of that, Celentano’s vocal (as well as that of his wife Claudia Mori, who injected the short female section) that mimics the way English sounded to non-English speakers, comes across nowadays as proto-rap, receiving kudos as such in more recent times. The track is most certainly an anomaly, having no bearing whatsoever on hip-hop culture, yet somehow unconsciously envisaging it.

The flip side of the record was appropriately called ‘Disc Jockey’, also featured that infectious rolling groove complete with offbeat hat. It wasn’t as DJ friendly though, the drums not dropping for the first minute, whilst it also featured a more traditional sounding song in Celentano’s native tongue instead of the rhythmic rap gobbledygook of ‘Prisencólinensináinciúsol’.

Here the two are sewn together for a full-length ‘Adriano Italiano’, running at just over 11 minutes, with the addition of a further two-minute instrumental version. The full-length appears on vinyl for the first time and, along with the original ‘Adriano Italiano’, launches the GW Edits series, bringing this eccentric favourite to a new generation of DJs in time for its 50th anniversary next year.

Round three of the hotly tipped, Moxy Edits limited series.

This one is a bass heavy jackin ‘90s hip hop inspired house groover. Think Sneak, Derrick Carter vibes.

One side is on a west coast infused vocal tip, with the other straight dubbin, pure clubbing. Perfect combination, check it.

2023 Repress

This latest limited 7" from Mr. K features two incomparable baroque soul masterworks, one from a Chicago-based band that defied categorization and the other a deep cut from a living legend songwriter and performer.

The psychedelic soul of Rotary Connection’s “I Am the Black Gold of the Sun” still sounds revolutionary and unlike anything else, a full fifty years after it was originally released in 1971. Swathed in ethereal ripples of strings (courtesy the Chicago Symphony Orchestra) innovatively arranged by unsung genius Charles Stepney, and rooted in a rock solid foundation provided by the cream of Chicago’s cutting edge session musicians (among them guitarist Phil Upchurch and drummer Morris Jennings, veterans of countless soul jazz cuts), “Black Gold” sits in uncharted territory somewhere between soul, rock, jazz and classical chamber music. It’s a gorgeous territory, a fantasy land where Minnie Riperton and Sidney Barnes’s vocals transmit mystical, uplifting vibes, the entire affair anchored throughout by an addictive piano riff—a mixture that proved irresistible to Masters at Work, who covered it for their Nuyorican Soul project in 1997. Mr. K’s edit doesn’t try to force anything fancy on this masterpiece, simply tightening it up and taking advantage of the lush remastering to present this progressive classic on 45 for the first time.

In keeping with the orchestral soul mood, Mr. K turns to Stevie Wonder’s “Pastime Paradise” for the flip. Whereas “Black Gold” paints a portrait of a magical land, Stevie’s lyrics on “Pastime Paradise,” originally issued in 1976, are a penetrating look at the very earthbound concerns of modern society and its follies, an urgent message to look ahead rather than languish in dreams of the past. The sensitive string accompaniment provides just the right amount of gravitas and emphasis to Stevie’s voice without overwhelming it, while the hare krishna-inspired tambourine keeps the rhythm effectively. Mr. K’s edit again keeps things true to the original, simply providing a subtle intro that uses the tambourine rhythm to lead into the body of the song.

Mr. K takes on two different disco moods in the latest in his long-running series of edits on 45.

Danny Krivit’s edit of Tony Orlando’s “Don’t Let Go” was released in Japan in 2012 and immediately became a sought-after, impossible to find rarity. Orlando’s version of “Don’t Let Go” was released at the height of the disco era, but the song itself was already a well-worn pop standard, having been covered by numerous artists before the pop singer tried his hand at it, switching things up with a percolating disco groove. “I never expected to rave about a Tony Orlando record,” wrote Vince Aletti in his Record World column in June of 1978, “but this one’s really terrific… My pick for a summer refresher.” The Jimmy Simpson mix on the original 12-inch follows the vocals with a long instrumental section that teases the various elements provided by the Muscle Shoals band (guitar, vibes, strings, and above all a sinuous synth) back in over the relentless bass and drums. Danny’s edit, which he’s trimmed down for its debut on 7-inch, works with this instrumental break and more than lives up to Aletti’s description as an addictive warm weather jam.

From the moody instrumental sound of “Don’t Let Go” we move to the bright uptempo vocal track "I Fall In Love Everyday." In spite of the relative obscurity of this fabulous but lesser-known cut, it comes with a sparkling pedigree. “I Fall In Love Everyday” was written by Jay Graydon (whose credits also include “Turn Your Love Around” for George Benson and “Breakin’ Away” for Al Jarreau), produced by Motown ace Mickey Stevenson (who wrote “Dancing In the Street”) and arranged by David Foster, who was just making the transition from session keyboardist to the superstar songwriter/arranger he’d become. The backing track was first used for singer/TV personality Jaye P. Morgan’s version of the song a year earlier, but you certainly can’t blame the team for reusing the music when the band included studio heavyweights like Harvey Mason, Lee Ritenour, Ray Parker Jr., and Kenny Loggins. Danny’s creative edit fashions a clean, DJ-friendly instrumental intro where none existed on the original, and gives new life to a track that’s sure to bring some sunshine to dancefloors.

As always, these unique selections from Mr. K’s personal stash are cut on a loud, club-ready 7-inch pressing.

Certified disco royalty, Mr. K, drops the fourth instalment of his super sought after and limited edit series. Two slices of pure disco elation, retouched, tweaked and extended in all the right places.

The Patchouli Brothers are best friends from small town Canada, who found themselves bonded by their affinity for the strange side of house, disco, soul & otherworldly sounds. They hold down a residency at Beam Me Up, a weekly disco night in Toronto & a monthly party in Montreal, and have had releases on some of their favourite labels like Defected, Soundway, GAMM, Star Creature, Pleasure of Love & Basic Fingers.

Before the world stopped spinning, they were touring Europe & beyond. They look forward to meeting freaks across the world and to dance together again soon.

Two undeniable disco classics given the golden touch by edit royalty Mr K, for the third instalment of his highly sought after and limited edit series. Buy on sight business from the master once again.

Israeli DJ and collector Elado makes his debut on RNT with a pack of impossibly rare edit heat! A relative newcomer to the scene, Elado made some waves recently with a stunning entry on Eddie C’s Red Motorbike, and he’s clearly no novice when it comes to digging as this exceptional pack of tunes shows.

With rarefied material ranging from Africa, India and the Mideast, Elado works these 4 tunes with a careful editor’s touch, nipping and tucking only where necessary to let the incredible source selections shine through, but rendered eminently DJ-friendly. Already supported by Antal and many others, this 12” is the first essential add of 2021!

Following the success of Krewcial’s Woman edits, here’s three unmissable variations on another out and out disco classic, from stripped down and intimate, to peaktime dancefloor anthem, using only the original multitracks.

Anané Electrifies With New Version of Dancefloor Classic “Get On The Funk Train”

Known worldwide as one of the New York City’s most vibrant, charismatic and talented producer / DJs, Anané is uniquely positioned to bring light to the 1977 Number 1 Disco Hit “Get On The Funk Train,” originally released by the Munich Machine and produced by the renowned Giorgio Moroder

In addition to being a singer Anané is also DJ with residencies in New York, Ibiza and Naples. She knows how to move the dancefloor and how to elevate the mood of the room from first creating the vibe to getting the crowd into a groove; ultimately taking the dancefloor into full fledged party mode. Her strong and distinctive character can be traced to her experiences growing up in Cabo Verde’s capital city of Praia located on the island of Santiago during a time of extreme political strife, and to her many years of working hard to establish herself in the always competitive music industry. It takes a lot to tackle a classic and make it uniquely your own, but that’s exactly what Anané has accomplished with this fresh and vibrant new version of “Get On The Funk Train.”

With her wealth of talent as a performer, Anané is also highly accomplished as a record label owner. Her Nulu and Nulu Electric imprints over many years have been the source of some of the most played and sought after club bombs in the Afro House genre that is currently in vogue with DJs around the world. Her Nulu Movement line of merchandise represents the stylish, cutting edge fashion vibe of her NYC residency at Le Bain in the Standard Hotel, with designs created by Anané herself.

As befitting an artist so well respected and admired in the community, the producer and remixer team behind this project consists of several of the most legendary and successful producers in the industry. The recording was originally produced by Grammy Award winning producer / artist Louie Vega, one of the world’s premier producers who has the rare distinctive of attaining massive success in multiple genres including House, Freestyle, R&B and just recently he has been focusing on revitalizing the great musical genre known as Disco. The production includes live strings arranged by two of the most highly accomplished members of NYC’s storied musical history Patrick Adams & Leroy Burgess, and electric guitar by Carlos Alomar, formerly David Bowie’s music director. Remixes were supplied by Todd Terry, a man who is known as one of the original New York City based producers who help create the House Music genre that we know today, and by the recently formed production team of Michael Gray and Mark Knight, two of England’s most respected and successful producer / DJs. These two stars of the industry have generated a uniquely groove focused remixer style that has had DJ’s worldwide eagerly waiting each new production.

Back at it again, layin’ down the rowdiest of mashups you’re likely to hear this side of the Atlantic.

Crankin’ the bass up to max for those heavy vibes inside.

Belpaese set their sights for the stratosphere with this double header of exotic delights for your aural pleasure. Strap in for another certified dose of disco – exotica – balearic - Italo-funk for the demanding digger!

Straight Outta Belpaese!

Straight Outta...Belpaese, a label fast becoming a go-to for those curiously catchy, exotic edits.

Maxing out that luggage allowance with Latin, Disco and Italo-funk rarities for the demanding digger... be quick - these edit EP's are snap up on sight business!

More CULT EDITS from IÑIGO VONTIER, PIETNEV, DREEM LION, and ALEXI LE FAN. Everyone loves these. No one has them. Only edits in circulation requiring a vow of silence and a paid subscription. Cannot be stolen, shared, or caned to death. Rename the track titles in a random internet café for maximum secrecy/exclusivity/emotional well-being. CULTED002 - blood in, blood out.