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Klubb Global Groove - Gothenburg's finest groovers - serves up two club-friendly and carefree disco edits, cut loud on 45. No sugar added, only natural sweeteners.

Still so sweet they will make you stick to the dance floor. Limited to 250 copies, no repress.

Through darkness diamonds spread their richest light…

Part four is here with Zakmina from Lithuania, Elfenberg from Sweden and Some Chemistry and Pete Beluga & Du Chatinier from Amsterdam, The Netherlands!

Entrepôt Records welcome Street Choice. Hailing from St Petersburg, the Russian duo delivers here his first EP. These four quality tracks are energetic sophisticated grooves infused with funk, jazz and soul.

Jamiroquai’s Matt Johnson and Derrick Mckenzie make their Groove Culture debut with ‘Interstellar Love’ Feat. Roki!!

Expertly curated in every aspect – as you’d come to expect from such seasoned producers, with Matt playing an arranging all the keyboard parts, while Derrick handled the drum sections. An original dancefloor bomb made by two incredible artists.

For those that don’t know Matt Johnson is the co-composer of ‘Seven Days in Sunny June’ by Jamiroquai and the mega HIT ‘Hypnotized’ by Purple Disco Machine, Sophie and The Giants. Couple that with the fact that Derrick Mckenzie is the co-author of the Jamiroquai’s classic ‘Cosmic Girl’, with Jason Kay and you’ve got yourself a sure-fire winner.

With heavy support across the board including Defected Records head honcho Simon Dunmore including the song in his Beatport and Traxsource DJ chart ‘Interstellar Love’ is set to be a smasher. While the Original Mix has cosmic funk stylings with nods to JK, The Micky More & Andy Tee Mix is a groovier and more DJ friendly cut created to set the dancefloor on fire. Quality dance music for those that like to get down. A MUST HAVE!
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A strong, strong showing from Duca Bianco after a period of relative dormancy, teaming up with Manchester's Talking Drums for a musical culture clash with maximum impact. The four tracks see a wide palate of influences being mixed up, from the cheeky Afrobeat shuffle of 'Monkey Key' to the 80s electropop of 'Voice Of Omicron' and the Nico-esque vocal delivery on Balearic groover 'Dolce Julia'. This is an EP with lots of surprises, tons of originality and musical confidence brimming over its edges.

Welcome to the Mirrorball Motel - the shimmering nocturnal world of Future Disco from the NeedWant label. It's a 19-track exploration of the magical and escapist sounds of artists like Digitalism, Cinthie, Bondax, Reflex, Roosevelt and more. The Mirrorball Motel is a place that transports you to another place, a party you don't want to end and when it does, you'll feel it was all a dream. It’s where the magic happens, an evening without inhibitions, where you dance without thinking. Musically it's a mix of all forms of disco and house as represented here.

This bumper collection features five exclusive new tunes. Daisybelle & Tasty Lopez's 'Starlight' (Future Disco Ballroom Dub) has a classic disco feel from the two first ladies of the green. Italoconnection - 'All Over' (Future Disco Edit) brings an eighties vibe that reminds of Ibiza venue Pikes, whilst the mysterious Clive From Accounts 'You Understand' impresses with its soaring strings and house bassline. The final two exclusives are Charlie Hepworth's 'It's Satisfaction' with its full thrill house drums and acid flashes, and Boys Shorts's 'Suburban Love Affair' (Brian Ring Remix), which sounds like summer on the shores of Los Angeles in 1989.

Elsewhere is the simple but effective future disco of Bondax, a Brazilian via French disco cut from PPJ, and exciting and intricate grooves from the trio of Breakbot, Irfane & Yuksek. There is euphoric 90s house from Saison, challenging yet reassuring vocal work from the legendary Roisin Murphy as remixed to perfection by the wizard that is The Reflex and much more besides.

Future Disco: Mirror Ball Motel is a wide-angle view of a perfect dance floor, all served up with that famously characterful and vibrant Future Disco style.

The fifth volume of their magnificent Super Spicy Recipe series finds the label's crew in full party effect, with the six tracks here crossing the borders from peak time dropping to essential warm up/down gear. First up, Vagabundo Club Social takes 'Beso Loco' featuring Tomjake Sax and turns up the controls to maximum fun, the Colombians throwing in tons of groove and Afro -influenced percussion, before Monsieur Van Pratt and Guatemalan singer Teff Brolo. This all-original track is leaded by the powerful soulful vocals, accompanied by a groove-infused piano which keeps the beats nicely anchored, followed by the ever dependable Reece Johnson who closes off this side. Flip it over for Bernardo Mota & Boogietraxx and the euphoric 'Keep On Doing Your Thing' before Sartorial takes proceedings into slightly jazzier territory on B2 and B3.

Repress
Pipa Records is back, with the second installment of B-Squit's now legendary EP series. After touring the world for the last two years, he finally returned to the studio. The pressure was high, so he hired some of the most famous ghost producers to create a worthy successor to the acclaimed first release. For some mysterious reason that did not work out at all, but did cost a fortune. So back to basics, he chopped up some old songs and gave birth to this beauty.

Support from the usual suspects of course, except RC7, because he only likes to break records. We love records, we don't break them, please don't do that...

repressed !

After a longer Break here we go , with two very well known edits that are now finally on Vinyl! Remastered for best Dancefloor Satisfaction! Vinyl Only!

Duca Bianco has always had a loveable erratic approach to putting out edits. They have come at irregular intervals from a gamut of unknown artists. That leftfield tradition continues here with so-called "goth-percussion merchants" Black Bones who travel far and wide across four hard-to-define cuts. There is a real sonic scuzz to the first one 'T-2017' which is macho disco for a strobe-lit back room. 'Coming On Strong' meanwhile is techno-disco for the main room with crashing drum textures and machine-gun synths that echo the great 'I Feel Love.' Totally flipping the vibe, the B-1 cut 'BEEF' is spangled late-night disco with rugged guitar riffs and funky bass hidden amongst oodles of reverb. Closer 'Keep Dancin' is AOR pop with big strums, crooning vocals, and intense walls of sound all destined to make an impact on dance floors that like it different.

The dance floor as devotional is a trope as old as the club itself. But, with her new album, Jesus Was An Alien, Perel subverts the stakes of our collective communion: Who are our arms raised to? Who are we seeking salvation from?

“Jesus Was An Alien is a discourse about whether Jesus was an actual alien,” she explains, “but also a social debate about what is and implies religion today.” She offers up her provocative second record – her first on Kompakt – as a soundtrack for the listener’s own journey through the intricacies and ironies of modern belief.

Picking up on the themes she brought to her debut, the 2018’s LP Hermetica on DFA, Perel has created ten tracks rich with spirit and allusion. Her influences are myriad, from the indie dance hitmakers of the early 2000s – Hot Chip, Simian Mobile Disco, Justice – to rave compilations that predate her ascent to the DJ booth, to more abstract inputs. Living with synesthesia, she says, “I feel emotions and colors piling up inside me, then there’s a triggering sound or event that opens a valve. My tracks are color streams that tell a story.”

Jesus Was An Alien is not just multicolored – it’s multi-lingual too, slipping in and out of tongues in a single track, sometimes dispensing with words altogether (the ecstatic breakdown of “The Principle of Vibration”). The album features Perel’s voice almost entirely but for her special collaboration with Canadian songwriter Marie Davidson on the title track.

“Jesus Was An Alien” stirs like a late-night revelation, a heady discovery awakened in the dark. Perel lays out a fiercely disciplined electro pulse, with Davidson’s proclamations growing more fervent over the song’s sensual stride. “I already said everything with my synthesizers and the melodies I created,” Perel explains of the collaboration, but “somehow she gave the song a voice I couldn’t.”

Perel drives further not only spiritually but sonically across the ten tracks, taking thrilling production risks: standouts include her breathy vocals atop a melodic piano strut on “Matrix;” the delirious blur of ghostly chimes and disembodied voices of “Religion;” and the retro radiance of “The Principle of Vibration,” in which Perel exhorts us to “come on and vibe” over an athletic riff and shuffling percussion.

“Kill The System,” meanwhile, hits the listener with tense acid pulses, building to only an imagined release and calls out the end of patriarchy. Album closer “Am Kanal” starts as a pensive cloud of a track, finally breaking into a rich textural rain of synths and stabs.

The variety throughout Jesus Was An Alien underlines Perel’s purpose in this latest project; she’s experimenting her way to answers – or maybe just more questions. After all, she says, “questions are the beginning of something new.”

NEW HOUSE MUSIC IMPRINT DEAD HORSE RIDES INTO TOWN WITH A MOTLEY CREW OF OLD AND NEW COWBOYS IN THE SADDLE.
THE FOCUS IS FIRMLY ON A HIGH QUALITY FEED OF MUSIC FROM AROUND THE WORLD.

THE MESSAGE...HORSE MUSIC ALL NIGHT LONG!

The song "光のレール(Rails of Light)" is a good song with a good old sampling sound, hip-hop essence, and vocals by a female gospel group.
The Song "ゆれる、ふれる(Yureru, Fureru)" is like a Silk Sonic, a modern take on '70s soul music. The drum break before the chorus and the Motown-like chorus work are great.

LBD sounds are back with a new 12" from their LBDISSUES series. This time they have a track taken from a sought after 7" single by Eva Hurychova & Jan Neckar from former Czechoslovakia, originally released in 1984, professionally remastered and with additional reinterpretations & edits.

"To Chce Mit Svuj System" is a sleazy electro disco number with its unmistakable 80s sound, instantly memorable without being too in your face. Optimo's JD Twitch comes on board with his extended edit, that stays close to original but has upgraded it for current dancefloors. Up next is an original remastered version. And last but not least, a newly formed duo of Oliver Torr and LBD Sounds label owner Olin, now working under Torr & Rich moniker, are here with their debut work - a pitched down 80s disco dub reinterpretation of "To Chce Mit Svuj System".

Italian dj's and producers Moplen and Massimo Berardi (M.B.) revamped Advance's 1982 much-loved Italo Disco anthem,
Take Me To The Top

Pump the Boogie!

Supported by: Danny Krivit, Quentin Harris, Hector Romero, Severino Horse Meat Disco, Dj Pippi, Federico Scavo, Nico De Ceglia & more …

Attraktors are a power trio, currently residing in Nottingham. Bass player John Thompson is a veteran of the 2-Tone ska revival, having done stints with both Bad Manners and The Selector. He also spent time in Davy Henderson’s wonderful avant / art pop outfit, The Nectarine No. 9. James Flower was a founding member of post-rockers, Six By Seven, where he supplied saxophone and keys. Antony Hodgkinson previously beat the skins for Derby 'alternatives', Bivouac, and collaborated with Julian Cope. Their debut, self-titled LP was released to some acclaim in the press, on Ali Renault`s Vivod label, last summer. The set referencing influences such as Depeche Mode, Eno, Harmonia, Human League, and Kraftwerk. Ron Basejam, from live-wire festival favourites, Crazy P, has now remixed two choice cuts for Brighton`s Higher Love.

'Heavy Water' rushes in on a siren-like synthetic fanfare, while dramatic, rattling percussion promises some kind of imminent lift-off. Mr. Basejam doesn’t disappoint, delivering a dynamite, deep, bottom-heavy chug, tested by depth-charge sonar blips. A menacing LFO arpeggio propelling the piece out onto the peak-time dance-floor. Its snarl softened slightly as Ron launches that fanfare once more. Moody, magnificent, body-moving, it drops down to a conga break, and then hits you with some real horns, before bringing that bolshy bastard of a beat back.

'Maximum Minimum' initially subdues, suckers, listeners with a more serene start - one of cinematic synths, and kosmische squiggles. Counterpointing this gurgling gear with theremin sighs and epic keyboard arcs. Suddenly this is all then set running, racing, to a riot of rumbling motorik funk. Chunkily bass-ed, its punk edges are eventually buffed by pretty prog harmonies, as the track evolves into an opulent, vocoder-ed, expanse. A piano rolling and rolling, as that robotic voice readies you for ignition on this righteous cosmic rocket.

This 10" single comes with a free digital download of the Attraktors debut album. Just tag in the label @higherloverec into a picture or video of your purchased copy on instagram, facebook or twitter for a download code.

Originally released as a 12” single in 1982, ‘Every Brother Ain’t A Brother’ was the final record from Brooklyn multi-instrumentalist and producer Freddie Thompson’s Panaché band. Built around a fully cleared sampled bassline from ‘The Message’ by Grandmaster Flash & The Furious Five, ‘Every Brother Ain’t A Brother’ plays out like a summertime stroll through New York in the early 80s. The streets are full of excitement, but as the lyrics, written by vocalist Denise Williams (not to be confused with Deniece Williams of ‘Let’s Hear It For The Boy’ fame) make it clear, they’re dangerous as well.

Thirty-nine years later, Isle of Jura is proud to present the first official 12” reissue of ‘Every Brother Ain’t A Brother’. A cult classic from the disco-rap era, the reissue includes the original vocal and instrumental versions of ‘Every Brother Ain’t A Brother’ plus a Jura Soundsystem special version with additional live percussion.

Originally made up of Freddie, his wife, the singer Debra Thompson and keyboardist Douglas Glover, Panaché formed at the behest of a local disco DJ, Carl Nelson. In the wake of Chic’s early singles, Carl felt a French name would give Freddie a competitive edge. “He explained it to us that it was a French word for style and elegance. Panaché, a step above chic,” Freddie reflects.

Business minded, Freddie formed his own label, Roché Records and joined SIRMA - The Small Independent Music Manufacturers Association. “It was very hard for the independent manufacturers to get airplay and distribution at the time, so we all came together,” he remembers. Through SIRMA, Freddie met Joe and Sylvia Robinson from Sugar Hill Records, who several years later, let him sample ‘The Message’ for ‘Every Brother Ain’t A Brother’.

In 1979, Panaché scored some radioplay when they covered ‘Not On The Outside’ by ‘60s D.C R&B group The Moments. Emboldened, they brought onboard backing vocalists and recorded their only album. This Is Panache saw the band blurring the boundaries between soul, jazz-funk and disco and become a sought after collectible.

By 1982, Debra had stepped back, and one of Panaché’s backing singers was center stage, Denise Williams. “Denise was good with writing poetry,” says Freddie. "She had one called ‘Every Brother Ain’t A Brother’. It was about the unrest that was going on in the city at the time. I thought I could do something with that.”

After releasing ‘Every Brother Ain’t A Brother’ in 1982, Panaché quietly moved from center stage to behind the scenes. Over the last thirty-nine years, Freddie has continued to work in the music industry as a session musician and producer. “As soon as we stopped trying to become stars as Panaché, we became busy working in the industry,” Freddie laughs.

Legendary NYC house label Strictly Rhythm is celebrating a mammoth 3 decades of cutting edge, roof-raising house music. Truly a benchmark.

Originally founded in 1989 by the dynamic pairing of music industry man Mark Finkelstein and A&R expert Gladys Pizarro, Strictly tapped directly into the fertile New York underground and after hours club scene, helping to launch and bolster the recording careers of dance music luminaries like Armand Van Helden, Roger Sanchez, Ultra Nate, Todd Terry, Wamdue Project, DJ Sneak, Louie Vega and many more. Strictly Rhythm is easily one of the most recognisable and respected dance music powerhouses of all time.

Across 3 limited double vinyl offerings, the Strictly catalogue has been expertly picked over to present you with a snapshot of some of the most earth shattering house music to emanate from the streets of New York City. A who's who of producers and artists, all killer and no filler. End to end classics that help to tell the story of one of dance music's most well loved labels. Classic cuts and essentials from DJ Sneak, Wamdue Project, Louie Vega (Sole Fusion), Essence and more all feature on part 2 in their unedited, 12" mix glory.

Fully legit, remastered and selected with love courtesy of Strictly Rhythm and Above Board distribution for 2020. Happy birthday Strictly Rhythm!

BPlan & Fab_o present the third release of their own Label. Caffe Corretto Edits 003 is a mix of the best Italian and international coffee. A side is powered by C. Da Afro, BPlan & Fab_o and B side is offered by a duo from the lovely Bologna: B1. Dj Rou and B2. D’Arabia. From disco to House, from Israel to Usa, from Italy to Greece, take your favorite Coffe Shot!! Grab your cup, i mean copy, while it’s still hot!

Debut for G&D Records Inc by serious Djs vinyl collectors, inspired from the best Disco Funky groove. 3 essential tune reworked for this special EP. Highly recommended.

Sounding simultaneously from the past, the present, and the future, the debut album 'MLDE' by Marxist Love Disco Ensemble seeks to eradicate both the trite from disco and the sobriety from political music. Half poetic, half tongue-in-cheek, this stunning compact eight-track album is influenced by Eastern European and Mediterranean 70s disco records. In the words of band member Paolo, ''it was written in response to hearing 'I love America' by Patrick Juvet. The song prompted the question: why does disco, a genre originally created by oppressed minorities, eventually become synonymous with American capitalist excess?" MLDE seeks to break this connection.

Merging disco, post-disco 80s pop, and boogie into the fold, 'MLDE' was recorded using only analogue instruments, giving it warmth and space. Recorded on cassette, ¼ and ½ inch tape, this gives moments of lo-fi abstraction between the beats of an aggressive, tight drum kit. Instruments used for this recording range from saxophone, trumpet, harpsichord, guitar, and rare analogue synthesisers. The bass sound is shaped by early 80s boogie records, whilst the influence of artists such as Hamlet Minassian can be heard in some of MLDE's more driving-disco outings, such as 'Hues of Red'. In the tradition of Soviet vocal group records, which the band has studied, some songs are sung by a vocal quartet in homage to this tradition.

Tracks such as '1905' and 'Brumaire' have a greater pop aesthetic, with Paolo's vocal style on these more pop-driven songs evoking early 80s bands such as Orange Juice and Chas Jankel.

The format and message of pop and disco are commonly viewed just to entertain and move bodies around a dancefloor; however, lyrically, the subjects range from dialectical and historical materialism, class struggle, Marxist theory and praxis, as well as the concept of Marxist disco music.

Adding the icing to the cake, mastering don Joker aka Liam McLean dusted the album with his magic, giving the songs space where the room is needed, as well as the kick and punch demanded by the modern dancefloor.

Yes, this is a press release, and they are always full of hype, but we were blown away when we heard this album, and we hope it enriches you too.

Our good friend Opolopo returns with a new GAMM EP of classy tweaks. This time with a homage to the Brazilian fusion sounds from the late 70's and early 80's.
A sound that he's always been a huge fan of.


On the A-side George Duke's cover of Milton's "Cravo E Canela" gets a lovely house bump, while on the B, Flora Purim's classic "Love Lock" (with G.Duke on keys) is tweaked into a melodic jazz-boogie number.

As always, Opolopo adds some of his own keyboard wizardries to make both tweaks just a little extra...tweaked!

2023 Restock!

Bænger's 6th release comes in a physical shape of a vinyl disc. Made with high performance and precision by the finest of machines. The track was made in the 80s during the golden age of technology, when IBM was the biggest and best tech company in the world. The EP comes with a Tisno Dub remix by Yourhighness. Pressed on both sides with 45 RPM.

Waiheke is the second 12in release of Tigerbalm on Ubiquity Records leading up to her full-length album debut "International Love Affair" featuring top-tier remixes from Alma Negra, Demi Riquisimo, Quartz and Bananas For Breakfast.

Having recently opened her account on Ubiquity Records with the brilliant, Bali-inspired single ‘Kete’, Rose Robinson returns as Tigerbalm with another snapshot of her forthcoming debut album, International Love Affair. As with its predecessor, ‘Waiheke’ gleefully blurs the boundaries between contemporary club music and the rising star’s love of rhythms and musical cultures from around the world.

All of the tracks on International Love Affair were specifically inspired by places Robinson has visited pre and post-pandemic. ‘Waiheke’ is no exception, with Robinson starting work on the track following an inspirational trip to the Flamingo Pier festival on Waiheke Island, New Zealand.

Once again, the track is rooted in the London-based producer, DJ and multi-instrumentalist’s deep love of delay-laden 21st century disco, organic house and deep electronic club cuts. Pairing these influences with African-influenced percussion and sampled chants, Robinson delivers a sparkling fusion of Afro-cosmic and dubbed-out nu-disco rich in sparkling synth sounds and warm, weighty bass.

Appropriately, Robinson’s original Tigerbalm take on ‘Waiheke’ is backed with a wealth of inspired remixes tailored to tantalise and tease a variety of dancefloors.

‘Waiheke’, then, is another sublime single from an artist whose distinctive personal style is rightly winning plaudits from across the musical spectrum. Her soon-come debut album is one you won’t want to miss.

Blue / Green Vinyl

Greece DJ Snatch & Blacksoul joined forces to create Those Guys From Athens based on their mutual love for Boogie sounds. Expect dancefloor fillers and soulful sounds around from the globe.

Their smooth slow disco sound has reached the attention of DJ Supermarkt very quickly. They were part of a lot of YACHT DISCO EDIT compilations so far.

But this time we have more than just new Edits.

Some time ago they did a low key rework for famous 80s US Disco band Champaign (yep, they had a megahit with “How `Bout Us”) and their song “I’m On Fire”, which made its way to Pauli Carman, head of the band, after it was played on BBC 6 in the UK. He loved the new version so much, that he gave permission for TGFA and TSTD to release the slow jam masterpiece officially.

We are superproud to give you: “Burnin` Up (feat. Pauli Carman)”!

The duo already released music for Midnight Riot, Too Slow Too Disco, Act Of Sedition, Bonfido Disques, Spincat Music, Little Jack, a.m.m.

In between they have released a 2 track EP with Dim Zach and an official remix for Swiss talent Animor.

Tom Findlay (Groove Armada) and James Alexander Bright's relationship started on Twitter (a place where hope usually goes to die) However, Tom had listened to James' recent release on the radio reached out to chat about working together on some tracks. Over a few months in the studio they created a mountain of work, some of which would feature on Groove Armada's recent 'Edge Of The Horizon' album. Having enjoyed working together so much, they decided to start their own project and Bright & Findlay was born. The first track they worked on together is featured as the lead on this 12" was 'Slow Dance' Funky party track with its feet firmly in 80s boogie territory and. Following tracks seemed to interweave / play alongside each other. Drums machine / chorus laden synths and guitars, and a soulful vocal are a staple of their sound. When Tom and James sent the EP over I was down from 20 seconds into the first track, 80s Boogie, Tangerine dream, Disco rap style rhythms yet totally the...

Always fun house craftsman Ali Renault secured another big tune with his 'Piano For The People' which is a chuggy groover that locks you in with its rich atmospheres. Now it gets offered up with remixes from, firstly, Aikhi, who flip it with laidback downtempo drums and some classic and well known chords. Calm then brings his Mellow Acid Dub to sink you in even further and last of all Double Geography bring some more crunchy drum textures and psyched-out synth sounds with echoing vocals and dark, late night sense of mischief.

Harold dons his Lion’s Drums alias for two powerful edits of South African kwaito legend Sandy B.

Originally released in Durban on cassette and limited white label in 1994, then reissued on Invisible City Editions in 2017, ‘Amajovi’ and ‘Student Night’ were two stand out tracks from a larger mini album release that brought everything that we love about the 90s together into a fiery township party fusion; European crossover house music hits, acid house, west coast hip-hop, all blended with vibrant percussion and kwaito flavour, it captured the exciting energy of post-Apartheid South Africa… Which is now brought into the 2020s with complete respect and passion by Lion’s Drums.

‘Amajovi’ takes the low-and-slow tempo of the original up a gear with a bulbous kick and layers of percussion. Bringing Sandy’s chanting vocals right to the front of the mix, and fine-tuning the original’s purring bassline, the game changes with the entrance of heavenly harmonic pipes and a sense of momentum and vibe that sits somewhere between Awesome Tapes From Africa and Hessle Audio.

Meanwhile ‘Student Night’ bubbles from the off with a very well-known bassline hook that’s peppered with flashes of 303, hand drums, pipes and Sandy’s own peppy chatter. From the moment you hear the universal sound of a can opening, this lives up to its name whether you skipped school or achieved a masters. All fully endorsed and supported by the original don Sandy himself, it’s all positive education…

Spanish DJ, producer and Night Shift records boss Javi Frias presents a new EP of disco edits that take the vibes of the 70s and re-fit them for the current dancefloor. As you might imagine, each of the four tracks seemingly has PARTY stamped across it in giant capital lettering, from the opening stomper 'Hot Damn!' with its bright-as-a-button brass section and the wah wah guitar of 'Dance To The Music' to the proto-house of 'The Spirit'. But the best is saved to last - the bendy funk bassline gymnastics of 'Feel Good', quite irresistible.

The first drop on the new Disco Mind Records is a top collection of well-designed and perfectly executed re-edits by two Italian disco stallions, Paul Older and Bplan. Each of these men is respected for previous works on the likes of Toy Tonics and Tropical disco and here they delve into their collections and come out with four fiery and authentic new cuts. 'Ma Quale Amore' is a peak time bomb, there is groove and funk to spare on 'Travolgente' and much more to win over all sorts of disco lovers. A great start to what is sure to be a fine label.

20/20 Vision have enlisted disco overlords Crazy P to curate a brand new series of records for the label, with exclusive tracks produced by some of their favourite artists on the cards. Designed to stretch beyond the world of disco and showcase the band's wide ranging and eclectic musical tastes, there'll be Balearic moments, downtempo beats, indie dance and electronica spread over four vinyl records.
Volume One kicks things off in style with a brand new track from Crazy P themselves, 'People (We Can Transform)', a slinky medium paced groove run through with a slowly opening acid line, funky guitars and an uplifting vocal. Elsewhere, Ashley Beedle declares 'War On The Bullshit (Revive)' with a barnstorming dancefloor stomper and Felix Dickinson remixes ASHRR's 'Fizzy' into a classy noir instrumental where jazz funk keyboards swirl around a rock solid b-line. Change Request & Saucy Lady close the whole affair with soul drenched diva-fest 'Be Dramatic', definitely the most old skool of the lot. It all bodes very well for the next three instalments.

Staple Disco club hit by American producer extraordinaire Hamilton Bohannon. “Let’s Start II Dance Again” features rap vocals by Dr. Perri Johnson, and the “Instrumental Club” version is available for the 1st time on vinyl. This 12’ is a must for every Disco Dj.