Back catalogue: Disco/Nu-Disco

Review: Now released officially, Zackey Force Funk & XL Middleton's 'Hey MF / Phone Home' first came in a cloud of hype amid the decision by MoFunk to release "exactly ONE" copy of the test pressing to whomever proved themself keen enough to own it. We're not surprised that the label might anticipate such fan fervour, since this is a uniquely totalising modern funk gem, manifesting technically as a Johnny Chingas cover but in practice evidencing the relentlessly singular, syncretic combined production style of the LA natives. Chingas' original lyrics are invidious but infectious, a mood coaxed further out by the duo's breathy talkbox usage: "hey motherfucker, who do you think you are? you think you so much better than everybody else... what do you mean I'm a fake DJ?!"

Review: Zaffa Kreations aka Zafra Brothers dropped only two EPs under this alias, one in 1981, and one in 1987. This is a reissue of the former, which for an original copy will cost you a few quid because it has become something of a mini-classic. The EP opens up with 'Will I See You Tonight' (Tony Humphries Special mix) which is a mid-tempo disco stepper with a brilliantly oversized and bulbous bassline, hip-swinging claps and a vocal line delivered with real coolness. The original version appears on the a-side and has more disco energy and a less strident beat for more playful moments.

Review: Jazz-funk twosome Zamie (Jadie Kiggundu AKA Ziggy Funk and pal Jamie McShane) impressed with their recent album, Fortuitous. On this EP, two of the set's most potent cuts have been given the remix treatment with club dancefloors in mind. Incognito main man Bluey handles side A, offering up a smooth, groovy and musically detailed take on 'Smash N Grab' that peppers a slap-bass-propelled groove with spacey synth pads, jammed out Rhodes stabs and all manner of life-affirming electric piano solos. Over on side B, Glaswegian veteran Al Kent takes 'Wildfire' down the disco, turning in a near 11-minute, Tom Moulton style rub rich in punchy synth-horns, snaking sax solos and spacey synth solos aplenty. Colourful, grown-up disco with a jazz-funk flex... more please!

Review: ZAN's latest album is currently 26 in the UK soul chart s it's no wonder the label it came on has pressed up this 12" with a couple of mixes of one of its standout tunes on as well as a new jam. The first is an extended mix of 'Follow My Heart' that has timeless synth soul and lush boogie disco drums with wet claps and cowbells a plenty. Then comes Bangsy's 808 disco mix which is a little more blissed out and low-slung with funky guitar riffs and lovely vocal hooks. Also included is the new cut 'Everlasting' which is a dubbed-out, reverb-drenched street soul stepper with retro keys to melt the heart.

Review: The young but already well-formed Deep Inspiration Show label continues its dedication to quality deep house with a new EP that comes as part of their international artist series. Zarenzeit from Zurich and Roger Versey from Arkansas open with 'So Smooth', a blend of rich keys, soulful loops and dynamic vocals over a sensual bassline. Melchior Sultana hails from sunny Malta and follows with 'Nothing Like It Seems' which features silky chords and a shuffling rhythm ideal for late-night sets. On the B-side, Jan Kincl from Zagreb delivers 'Sugar,' a fusion of house and cinematic disco with organic drums while Spain's Barce closes with 'Stigma,' a melodic union of deep house and techno.

Review: XXX is back with a steamy 16th EP and it features two original tracks by Anastasia Zems & Radial Gaze on the A-side, with remixes from Chinaski & S.I.R.S. on the B-side. The originals are characterised by dark industrial vibes, sharp kicks, and throbbing yet playful basslines that will persuade any dance floor to get throwing shapes. On the flip side, Chinaski's remix takes an unexpected turn as a trance-like trip that climbs higher and faster with each beat. S.I.R.S. offers a contrasting disco remix with an irresistibly groovy bassline, and just as irresistible is the playful artwork by Gees Voorhees that perfectly captures the eclectic nature of this EP.

Review: Bedford-based trio Zenana never made much of an impact when they were first active in the 1980s but have become the toast of the world's media following the rediscovery of their excellent, Italo and Hi-NRG-influenced 1986 synth-pop single, 'Witches', by crate diggers a couple of years back. Here that fine track, originally produced in terraced house in Cornwall by the brother of bandmember Anita Tedder, gets the reissue treatment on Rush Hour's RSS series - thanks, in no small part, to a new (but authentically 80s sounding) extended remix from long-established Bristol DJ/production duo Bedmo Disco. Their flipside 'Spell of Love' version strips back and stretches out the track, taking cues from NYC proto-house, Martin Rushent dubs and mid-80s Shep Pettibone remixes. It's the 12" dance mix the song never had first time round.

Review: Greg Wilson returns to Running Back, celebrating 40 years since the release of the classic and highly influential Street Sounds UK Electro compilation. The groundbreaking track 'Real Time,' which opened the 1984 album, finally gets a 12" release here. Featuring a Greg Wilson edit, a Gerd Janson bonus beats edit and two 2024 reworks, this limited edition showcases Wilson's continued influence in the electronic music scene, alongside collaborations with his son, Che Wilson, including remixes for Gabriels and Confidence Man.

Review: This limited gatefold edition compilation, curated by Leri Ahel & Zeljko Luketic, brings together 18 rare disco tracks from Yugoslavian artists, pressed on 2 x vinyl. Featuring the likes of KIM Band, Gabi Novak, Arian, Ljupka Dimitrovska, and more, the collection is sourced from original master tapes, ensuring pristine audio quality. Disco, a Trojan horse in Yugoslavia's pop music scene, thrived for an unexpectedly long time. Influenced by American and European disco acts like Boney M and Amanda Lear, Yugoslav producers and record companies like Jugoton and PGP RTB embraced the genre's vibrant energy. The scene fostered a unique blend of genre hybrids, electronic experimentation, and bold themes, with artists creating memorable and innovative disco music. This compilation captures the spirit of that era, shows both chart-toppers like Zdravko Colic and experimental gems. It highlights the creativity and freedom that disco provided, allowing musicians to push boundaries and deliver unforgettable tunes.

Review: Label affiliates Mytron and Zongamin make a combined return to the ever-on-point Canadian stable Multi Kulti, delivering an extended selection of typically off-kilter, genre-bending sonic mastery. In what appears to be a match made in the leftfield heavens, the duo join forces to explore dance-ish music's outer reaches, blending tribal motifs with 8-bit sampling and all manner of wonkiness. From the blissful bells of Conjunction With Reality to the bass-heavy throb of GHX, there is unsurprisingly plenty to savour here. Opening cut '08932168' blends enchanting lead melodies with rolling polyrhythms and dubbed-out effects before the equatorial percussion of 'Calliope Omniglot' makes way for the wiggy atmospherics of the collection's title track. Highly recommended.

Review: Zan's new album on BDQ Records is a refreshing blend of boogie, jazz, funk and soul. Known for her strong and sultry voice, Zan rose to fame in the 80s as the lead singer of Melbourne's I'm Talking, alongside Kate Ceberano, and her vocals on hits like 'Holy Word' remain iconic in Australian music history. Zan's musical journey includes collaborations with The Models and appearances in music films like Australian Made. Her diverse background, born in London with Sri Lankan heritage, has influenced her soulful style. Having lived in New York and London, Zan's experiences shine through in her music. Her self-titled solo album in the 90s and tours with bands like Mother Earth improved her career internationally. Back in Melbourne, Zan continues to enchant audiences with her live performances. Her new songs are steeped in 80s dance and pop flavours, re-capturing that feelgood factor from the era whilst bringing to it a new unique and contemporary.

Review: The latest record to waft from the Four Flies feeding ground focuses on Paolo Zavallone, an elusive musician and patron of the DIY music label Paloma Records, which only saw five records released. After venturing into the world of music publishing in 1983, Zavallone would either produce licensed-for-film music himself, or consign the task to his peers, chiefly his friend Mauro Malavasi. This record, made up of a quint of nameless, coverless records, captures the highlights of the sottofondi style, i.e. incidental music made largely for early 80s Italian comedy series on TV. Easy listening fusion blends with pots-and-pans avant-gardism ('Cronaca Nera' particularly), proving the remarkably prescient range of an obscure musician.