Hot Biscuit Recordings 黑胶唱片和CD

Review: Even if it's a point worth making, sometimes it needs to be made several times over before it lodges itself in the brain. Whoever was behind this original cosmic disco cut, it hammers home the principle of not stopping the music with such repetitive intent that we have to wonder whether we truly would want to stop the music had we not been inculcated as such. And though we're unsure of its origin, 'Don't Stop The Music' and its loving rerub from Leeuwarden, Netherlands DJ and producer Pete Blaker hears the artist dare not forsake the Northern English interest in such sounds by leasing his wares again to Newcastle label Hot Biscuit. Backed by a suspensory glaciation on the B, 'Ice Cold' with fellow producer Dionisos, you can be sure yet some other aspect of disco gold has also been reliably preserved here.

Review: Hot Biscuit Recordings' has spent the last couple of years delivering killer re-edit EPs, mostly from veteran talents including Rahaan and the Idjut Boys. For this 12", they've recruited another long-established re-editor, Brooklyn-based Japanese-American producer (and East Village Edits main man) DJ Monchan. There is of course a big fat slice of heavily orchestrated disco on show - B-side 'Finally', which seemingly extends and rearranges Steve Bendner's 1977 version of 'The Final Thing' - but it's A-side 'Silent Dub' that hits home hardest. It's sees the Dailysession Records founder turn his attention to a sparse, spaced-out synth-pop record of (we think) the 1980s, re-imagining it as deliciously deep and dubby house record full of trippy effects, echoing vocal snippets and delay-laden percussive elements.

Review: Along with fellow veteran (and dusty-fingered crate digger) Rahaan, Milo Johnson AKA DJ Nature is one of Hot Biscuit's most prolific re-editors. Here he delivers the third volume in his ongoing Versions series, once more offering up six revisions stretched across two slabs of wax. Check first record one opener 'Your Turn To Move', a stretched out version of a heavily orchestrated, not particularly well known disco stomper, before turning your attention to the scat vocal-sporting disco-jazz pleasure of closing cut 'Magic Man'. Sandwiched in between you'll find such delights as the guitar solo-laden AOR disco brilliance of 'Burning Hot', the gritty, percussion-rich energy of 'Disco Raw', and the slow-burning Blaxploitation brilliance of 'Get On The Floor'.

Review: Brooklyn producer Gerard Young aka Ge-ology has always championed intricacy in his original house productions, preferring to survey and purpose-build from the ground up, not prefabricate. His Versions series through Hot Biscuit has been going since 2025, with a higher-than-usual number of deep cuts (usually six in total for each 12") all given names like "Extended FeelTheFire Mix", "From SideToSide", "CapricornTribe Mix" and "Raw Stripdown Version", evidencing a sense of literary licence and playing on otherwise boxed-in remix titling traditions. Janky sampled refuse of disco-soul and gospel replay over 'Keeep The Beat' like trash-humped radio components larked from wreckage - our fave track here by far.

Review: Born and raised in Chicago, Durty Truth Records founder Darryn Jones delivers a couple of corkers for North-East England re-edit imprint Hot Biscuit Recordings. A-side 'In The Bush' is a thrillingly heavyweight jam - an Afro-funk meets Afro-disco version of a track made famous by US disco and boogie outfits, which Jones has expertly extended and rearranged in all the right places. B-side 'In The Know', meanwhile, is a take on a more classic-sounding slab of Afro-disco that boasts a superb "walking bassline", extended electric piano solos, sultry strings and a fine male lead vocal.

Review: Chicago has had a strong re-edit culture since the days when Ron Hardy and Frankie Knuckles were defining house music culture in the mid 1980s. Rahaan, who has been one of the more storied members of the global re-edit scene for the last two decades, is undisputedly the Windy City's current scalpel-edit king - as his ongoing series of reworks on Hot Biscuit Recordings emphatically proves. Here he adds two more fine revisions to his bulging discography. A-side 'For Dancing & Singing' sees the veteran DJ/producer apply his Midas touch to a vintage 60s funk jam, making most of the sampler-ready breaks and groove, while flip side 'The Galaxy' - our pick of the pair - is a soaring and spacey 70s disco workout piled high with percussion, jaunty piano motifs and suitably intergalactic synth sounds.

Review: No one's edits and disco bombs slap quite like Rahaan's. The US master of all things soulful and funky can tap right into your core with his work and this new EP on Hot Biscuit is the latest example of that. 'Get Up' opens with retro disco favours, funky guitars and lung-busting vocals that bring the heat. 'Zombies' sinks into a nice silky sound with sliding cymbals and hi hats and knotted bass, then 'How' slows it down a bit for a more playful and seductive disco sound with nice horns and squelchy bass. Three real heaters.

Review: Newcastle label Hot Biscuit kicks off its 2024 with a new EP from TODDSONIC33. It is the first time we have come across this artist but colour us impressed. There is a fine grasp of delicate moody yet heavy drum work to the opener 'Groove Magician' that speaks of the signature Motor City sound, while 'That Track' is a mix of blistering synth modulation, hip swig claps and kick and plenty of bleeps and squeaks that will cause terror at any party. 'Enki' is another unhinged and leftfield house collision and 'Popcorn' layers sheet metal snares with a cacophony of drums.

Review: TODDSONIC33's Yes EP on Hot Biscuit Recordings is a fresh take on classic disco vocals, transformed into a modern Chicago house sound with a deep house twist. Side-1 starts off with 'Yes,' a track that features a jackin' beat blended with post-disco vibes. The result is an exciting track that captures the essence of both eras, creating a rhythmic pulse that drives the dancefloor. On Side-22, 'Make Me A Woman' and 'Deesko Music' continue the exploration of High NRG disco vocals within the Chicago house framework. 'Deesko Music' stands out for its innovative use of vocal samples, skillfully integrating them into the Chicago house sound in a way that feels both fresh and natural. TODDSONIC33's approach to blending these vocal elements with deep, groove-heavy beats is both classy and distinctive, offering a new perspective on how disco can be reimagined in the house genre. This EP is a standout example of how classic sounds can be innovatively updated for modern audiences. These will bring a different and original peak to dancefloor madness.