ΙΠΤΑΜΕΝΟΣ ΔΙΣΚΟΣ

Chanting into a Balearic underworld, We Can Go Everywhere melds synth-pop, disco-house and indie dance brought back from the future. Just when you think the track is about to bust out a set of 80s shoulder pads, with the synth injections screaming out from a bygone era of bigger equals better (the same can also be said about the drop-down bass), the pair roll out the beats with a caution, turning the vibe into something best served come witching hour. Sprinkling the glitz and glamour with grit and candor and a touch of Gallic groove sensibility, the track paves the way for three remixes by In flagranti, Iñigo Vontier and Richard Rossa.

Local Suicide are a Berlin love story. Meeting over a common passion for dance floors, DJing and production, Brax Moody and Vamparela have been bringing their Greco-German soundclash attitude to clubs worldwide since 2007 and their debut EP We Can Go Everywhere officially rubberstamps their partnership. The duo have been dominating Berlin’s top clubbing spots and have filled their passports from New York to Tunisia, Tel Aviv, Istanbul and Barcelona while simultaneously organizing parties, running a respected music blog and getting noticed whenever they get their hands on a set of decks. Safe to say that Local Suicide are not usually found without their hands to the pump.

The future-retro scale is further determined when you have the expertise of In Flagranti (Kitsuné, Phantasy, GOMMA, La Belle, Domino) to truly quantize the boogie, looping the chorus just behind a mix of digital distress signals and road trip guitars until it becomes something close to an incantation of Bananarama. Alex Gloor and Sasha Crnobrnja complete two halves of basement seriousness and a hop down a yellow brick road, giving off sharp catwalk glances before breaking out the worm in the name of Factory funk.

Iñigo Vontier (NANG, Pizzico, Turbo, No Static) trains tracky, fractal-examining synths for a deep tech-disco hustle. Powered by low-slung electro-house blips that cram and gang up on the dance floor, the Mexican producer simultaneously makes the original song sound intensely alone and on the run, the vocal not daring to speak its name until it rushes from the ground on the breakdown with a sense of release. The flashes of those kitsch-tipped synths again keep reminding you of the package’s Euro destination.

Tom Tom Disco’s Richard Rossa (GOMMA, Discotexas, Young Society) is the last one to bring sounds back and forward, putting spit and shine on mainframe sequences so the mirror ball can spin once more. With the ubiquitous synth shunts and bongo percussion not losing sight of the fact that there’s still a pop-ish party going on, the Scandinavian revels in the dust and debris that his machinery comes colored in, coming up with a snippy slice of incessant analogue disco ensuring Local Suicide’s original revels in its retro roots to the last.