Mushrooms Project – Undergrass

Mushrooms Project - Undergrass

Dirty grooves, dubby guitars and balearic melodies lead into a dark mid tempo path full of cosmic and prog influences. The italian duo Giorgio Giri and Marco Lentano managed to produce one of the best albums in 2013 which stands in a genre of its own.

Can this be the dark side of disco?

Undergrass was released by Leng records (Claremont56’s sublabel) on gatefold double vinyl with a bonus 10″ including two ear melting remixes of ‘16823’ by Brennan Green and Mudd. If you can still find it, you should add this album in your record collection.





Almunia – New Moon (Claremont 56, 2011)


Could Almunia be the definition of progressive disco? If not, i think is the closest thing you will get. Almunia is a project combined by the Italian duo Gianluca Salvadori and Leonardo Ceccanti. Their first album “New moon” was released on Claremont 56 in 2011 and its one of the most precious gems in my record collection. Dub disco, guitars and progressive grooves, with intense elements of Pink Floyd and Peter Green. A dark, heady, heavyweight late night groover. Remarkable debut album.

L&G Psychedelic

Moving Up Slowly


Monitor Audio BX6 vs Tannoy DC6T SE

Monitor Audio BX6

Monitor Audio BX6

For quite a while i have been casually looking for affordable speakers for a potential upgrade from my Monitor Audio BX2. I own a Cambridge Audio 840 v2 amp and a Cambridge Audio 640 v2 cd player so it made sense just to pop to my nearest Richersounds and try two floorstanders i have been eyeing up for a long time.

With the first glimpse, the Bx6’s are relatively bigger. The do look quite dominating so there might be a chance that your other half will not be very happy when you place them in your living room. On the other hand, the Tannoy’s are relatively smaller, more elegant and chic.

The first test was made with Kraftwerk’s “Man machine”, and the result of the BX6 was mind blowing. Attacking, powerful, full of bass with very crisp highs. The highlight was by far the kick and the feeling of endless power. Changing over to the Tannoys the feeling was totally different. Much warmer sound, the detail was significantly better but in the overall they didn’t drive Kraftwerk with the same way the Monitors did.


Tannoy DC6T SE

The Second test was with Fleetwood Mac’s “The Chain” were the experience totally flipped over. I have to admit, I have never heard this song as detailed as this before. Very musical, with mid and highs too die for. A total delight. It felt like this speaker was made for this kind of thing. Flipping over to the Monitor Audio’s was quite a disappointment, because although they did deliver fairly well they didn’t manage to match the detail and the warmth of the Tannoys. There was definitely something missing there.

At that point i was totally confused. I just couldn’t believe how differently these speakers reacted with different kinds music. So the last check was to choose something totally new, well made, electronic but not too minimal. The Song of the final test was Almunia’s – Moving up slowly.

Once again the amount of power, drive, and kick that the Monitor Audios delived gave me the biggest smile ever.When the bass kicked, it seemed that this pair is very difficult not to get your attention. They were fast, punctual,strong, aggressive and crisp as. On the other have the Tannoys were a bit warmer with much more detail but the bass was too floppy for my liking.

At that point i realised that there is no point trying comparing these two. They are two very different speakers which deliver very different excitements. In my ears if you are a lover of old vinyl, classic rock and particularly folk, i think you will instantly fall in love with the Tannoys.

On the other hand the BX6 pair manage to combine very high quality hi-fi speaker with a “clubby” feeling which is something unique. If you preferences lay on electronic, complex and crystal recordings then this pair will definitely deliver.

At that budget i would easily recommend both. Its clearly down to the musical preferences of the individual for which one would you prefer. As i mentioned before i really don’t think the one is better than the other but i really think both of the speakers have a clear music preference of their own. Feel free to give me your thoughts and let me know if you feel the same.

Mungolian Jetset – Moon Jocks N Prog Rocks


This is one of these tracks where you have to pay a bit more attention to get the whole concept. Mungolian Jetset have been challenging my ears for several years with real diverse productions. From pop to psychedelic, and from techno to disco and back. Surely their albums are not everyone’s cup of tea but in my opinion “Shlungs” has been their peak so far. The “Moon Jocks n Prog Rocks” single has really gone deep into my head since it was released as single back in 2010 from “Small Town Supersound”. This is a unique track which gives a whole different dimension to disco. Tribal drums, progressive elements, and killer lyrics with a crisp late night feeling. Disco, clubs, spacecrafts, aliens, capes, synths, lasers, it is all there. Great fun and a huge groove. Progressive disco it is! Personally I think this track is a reference and a dance floor killer (if played to the right place and the right crowd). Probably you have heard Todd Terje’s full on disco edit on a dance floor out there, which is also brilliant but fairly different. If you haven’t come across the Norwegian duo yet, I would strongly recommend to have a listen.



Now I was walking down an alley on a dark and shady night
Feeling kinda bleary like something wasn’t right
Was at the latest trendy club, but I had to escape
Cause people were all chit chat ’bout their furniture and drapes.
The music was too serious, the bands were pretty lame
Women looked like cloggers, now the men looked just the same
I was drunk, so to avoid a scene I left through the back door
Some voices came down on the wind that I couldn’t just ignore
we`re moon jocks and prog rocks
prog jocks and moon rocks
we`re visualized supersynth grooveitars
we`ve come from the dock of a bridge of a discoverse.

I left-turned down this alley, propped up against a wall
Feet were aching, legs were shaking, mind was gonna stall
In this state of near-collapse I heard some kind of hiss
Lightning struck and time dissolved and I fell into a state of bliss.
I saw the strangest creatures like in some Timmy Burton flick
With moonplate eyes and frogman feet, they looked like Lunatics
Wearing purple capes and lava lamps on their heads
Raised their hands in the cool night air, this is what they said:

prog jocks and moon rocks
prog jocks and moon rocks
we`re visualized supersynth grooveitars
we`ve come from the dock of a bridge of a discoverse.
rocketing away to a shaking dancefloor
Take this flight to another space, where proggy disco is the superior race

Now I can tell ya LOUD I was a little stuck for words
I choked on my nouns and gagged on my verbs and blamed it on the herbs
Their leader sauntered up with a swing of his hips
And put a gnarly finger up to button up my lips.
He said:

“We got a better place for a dude like you
Less bustle, more hustle, all boogaloo.
Far have we travelled, long have we run
From the fifty-fourth stone from a supernova sun
Here evolution is the name of a Giorgio tune
this is the proggy side of the silver spoon
What we got’s what you need, so get with the beat
On the Transgalactic Express, feel the nano heat

And then the sky ripped open and we flew through the heavens
right to the heart of the sun in Sector 77.
I heard a thousand voices in a moog synthesizer
an arp of an odyssey played by some green little kaiser.
I saw a dude in sequin slacks with a pink neon face
He was poppin’ out sins and saints on his cosmic lazer bass
The beat was pounding through my soul and I knew what I must do
I gotta get myself right back to Earth to tell this tale to you.

But before I could do another thing they got me lazerlocked
The door slid open and I saw a sight that put me into shock
A four-poster bed with silky sheets and posts of bones
And there in the middle like a cosmic riddle was Babylonia Jones.

And then I knew my time was up as she took me to her side
She showed her Purple Twang and she threw me deep inside

so my story ends with tears and a moral writ in stone:
“Beware the Deadly Purple Twang of Babylonia Jones”

Take this flight to another space, where proggy disco is the superior race.

Lyrics by Nyhus / Mullan
Music by Saevik / Nyhus

Basso – Burning (Blackdisco records,2010)

Basso - BurningThe last few days my Greek side has been calling so I started digging (again) for Greek electronic rarities from the early 70s to late 80s. Having worked in couple of the biggest record labels in Greece I kind of know what to search for, but what I came across is truly fantastic and completely out of nowhere. The original song was released by Minos record label back in 1982 in a record where Maria Farantouri (singer and also a political and cultural activist) sang poetry written by the Turkish composer Zülfü Livaneli (Minos 448 LP). In 2010 the song was edited by a German artist called Basso using samples from the original vocals and  was unofficially released at the Dutch label “Blackdisco”.

I discovered it a bit late but I suppose better late than never…

Original Version – Zulfu Livaneli/Maria Farandouri – San ton Kerem

Broadway (Rayko Edit)

If you have been following the Disco/Re-Edits scene for the last few years,  probably you know Raico Peña by now. For those who don’t, “Rayko” is a DJ and producer from Spain who has been releasing tons of re-edits based on some very well chosen disco tunes.

On this blog we have a soft spot about his edits and we have spent hours and hours listening to his work.  Be sure that we will be posting loads of his tracks here.

Broadway is one of his first singles released on “Lumberjacks in hell” label back in 2011. Amazing groove based on Bee Gees hit “Nights on Broadway” (1975).

It’s sexy, it’s deep,  it will make you move…

Odyssey – Who (1974)


This is an oddity released under the name “Odyssey”. The single was released in 1974, and it contains two songs, “Who” and “Sad Face”. This is the A’ side of the 45′ written by Robert Fitoussi, with lyrics by Richelle Dassin, who both worked with Vangelis on his album ”Earth”. It is possible that both of the songs on this 45′ are ‘leftovers’ from recordings which never made it to the album. I love it to pieces.