Back catalogue: All genres

Review: Sundries' Disco Goodies series, which rounds up the best of the label's digital releases and presents them on multi-artist EPs, reaches its fourth instalment. It hits home hard from the start, where Berobreo's 'Soul Driven Dynamics' provides an attractive mix of 1970s orchestral soul samples and rubbery deep house beats. Experienced re-editor Oldchap brings the goods with a lightly tooled-up and beefed-up rework of an orchestra-sporting disco gem ('Coloridos'), before X Gets The Crest delivers a percussive, hot-stepping and filter-smothered re-wire of a much-loved Cymande classic ('Still Come Home'). Over on side B, Alexny's heavy disco-funk re-edit ('People Says') is joined by a hazy and horn-heavy revision courtesy of Sould Out ('City Gal') and the pitched-up disco loop-funk of 'Since You Came' by Workerz.

Review: The world of dark disco tech is vast and so covers plenty of niches and nuances with artists all over the world adding their voice to the conversation. Spanish label Waste Editions offers up four more to the mix here with another well-assembled VA. Dark Vektor's 'Amb La Mirada Ens Menjarem' begins with some synth sounds that evoke a horror scene over snappy drums and sleazy guitar riffs. Synth Alien's 'Replica Cosmica' gets a little more loose but still comes with evocative vocal samples and a characterful world of synth sounds, some that fart, some that gurgle, some that amuse. Imiafan's 'Stupaj (Keen K RMX)' is another prying, loopy sound brought to life with myriad effects, textures and vocal snippets and Wardum shuts down with 'Wrambling' which has grinding bass and scuttling effects topped with occult vocals.

Review: Kommuna marks its tenth year of activity with this new dancefloor-focused record from various artists whose music "reflects the glimmer of hope that music provides during these dystopian times." Fabricio's 'Collateral Effect' opens with a strident nu-disco sound and retro-future chords that get you moving. Charleze's 'Rage Power' is another chunky disco stomper with some nice cosmic melody and Wooka's 'Tirty Dalk' hits harder with mechanical beats and churning bass. Mooglee's 'Things I Love' brings a more dreamy synth sound but still club-ready beats.

Review: Ralph White's early ventures into disco are finally gathered in one place with the first official anthology of his 1978 recordings at Sydney's Albert Studios. Better known at the time as a session player and producer in the city's studio scene, White was tapped by M7 to craft four disco pieces aimed at an emerging dance market. Over just two days in the studio and a small group of local players - including a young Tommy Emmanuel - he recorded four standout cuts, together which remain some of the most refined Oceanian disco ever put to tape. Though the original 12"s saw limited success domestically, M7's distribution push into markets like Canada, India and Argentina helped cultivate a quiet cult following. Now remastered and housed in a deluxe spot-UV sleeve with inserts featuring new liner notes and White's biography, this reissue shines overdue light on a forgotten chapter in Australian dance music.

Review: Whodamanny's Biloba sublabel on Periodica Records takes us into dark, hypnotic sax-driven sounds here with a new single that comes with four unique versions. The Club mix of 'Volveran ' features chanting vocals and neon-hued pads over tinny electric disco beats with some big sax stylings. TehSax Only does what it says on the tin and the Radio mix condenses this energy into a spellbinding pop gem while the Dub version removes the sax, highlights delayed drums, cosmic chords and sunlit guitar riffs and tops it with hazy vocals. These are lively, retro-future disco delights that are sure-fire crowd-pleasers.

Review: The shadowy Wicked Disco crew have already turned heads with their floor-focused revisions of classic cuts, particularly August's garage-house re-dub of Whitney Houston's cover of 'I'm Every Woman'. Each 12" so far has been limited to just 100 copies - an insanely low number given their quality - and this missive is no exception. On 'I've Just Learned To Live With It', the crew gives its take on a dewy-eyed, orchestrated soul classic from the 1970s (we think), lightly dubbing it out and extending it to dancefloor length (six minutes) while retaining all or the original's sublime lead and harmony vocals. It's something that will not only work in both soul and disco clubs, but also as a "send 'em home happy" end of night tune.

Review: The fifth release on the rather mysterious Wicked Disco encapsulates the dazzling spirit of classic disco, channelling the soul of the late 70s with a sound that feels vintage but also revitalised. This one-sided edition bursts to life with a bold horn section that immediately grabs attention, paired with shimmering strings that weave a lush, cinematic backdrop. Add a deeply emotive vocal performance that elevates the groove into something truly joyous and layers of vibrant rhythms and intricate instrumentation and bang - you'red transported to an era of glamorous nightlife.

Review: We find ourselves writing this a lot but this really is a top-tier Italo disco record that is as rare as an honest politician and way out on its own atop many people's want list. Wish Key was founded by Manlio Cangelli and their debut in 1983, 'Orient Express' quickly gained popularity and led to further releases like 'Easy Way' in 1984 and 'Life.' It's a track drowning in echo and reverb and 80s drum sounds with a nice-paced bassline and camp vocals. It comes in various versions here as well as with the signature Flemming Dalum for more club-friendly vibes

Review: Stevie Wonder has many classics in his incomparable oeuvre and many of them have been remixed with varying degrees of success. 'Paradise' is one from the mid-70s on his Songs in the Key of Life album and here it gets a house rework. It's got some brilliantly dusty Motor City house vibes to it with busy synth arps riding up and down the scale next to more smeared, serene chords. The flispside Kneedeep dub is more percussive with chopped-up vocals, disco-fried beats and a little more vibrancy to it for some playful party times.

Review: Use Vinyl looks back to two iconic tracks from the 70s and 80s here for source material for a new remix EP by the Vannelli family. Joe T remixes 'Thrill Me' by The Wonderland Band into the sort of direct and funky house sound that brims with early dance music charm while the Vannelli Bros offer their rework of 'Party On' by Pure Energy which comes with plenty of energy for club contexts. Both tracks are presented as Classic Mix versions and bring plenty of new life to the original hits without forgoing the timeless, catchy and meaningful melodies that define the originals. House music like this is as authentic as it gets.

Review: Havoc are back, with the fourth release on their label, and arguably the strongest effort yet. Here we have 4 reimagined efforts, including a galloping disco delight that's been tamed to perfection, a deconstructed US New Wave track guaranteed to get the freaks and fiends moving (wait for that kooky vocal and guitar halfway through!), a little-known German 80s gem given the trademark Havoc treatment, and a catchy as hell slo-mo Austrian Europop groover. With these fellas' edits finding favour with the likes of DJ Harvey, you know this is likely to disappear fast, get on this while there are still copies left!

Review: For their latest red-hot reissue, the admirable Be With Records takes us back to Paris in 1979 and the sole album by Who's Who - one of the numerous aliases of songwriter, musician and producer Daniel Bangalter, AKA Thomas Bangalter of Daft Punk's dad. The apple doesn't fall far from the tree, right? The six tracks showcased on the eponymous set are very in keeping with French disco of the period, with attractive (and then cutting edge) synthesiser sounds being combined with glassy-eyed male and female vocals, infectious "walking" basslines and Cerrone-esque drums. Highlights are plentiful, from the peak-time disco joy of the tropical-tinged "Palace Palace", the Moroder/Patrick Cowley-influenced mid-tempo spaciness of 'Hypno Dance', to the Tata Vega style jauntiness of 'Roll kacky Roll' and the fantastic 'Dancin' Machine'.