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"MUTANT DISCO: A SUBTLE DISLOCATION OF THE NORM"
Ze Records
In 1981, anunderground New York label known for their influential roster of discoand no-wave artists released a seminal compilation of some of theirbest singles.With this release, Ze Records both solidified the definition of theleftfield disco movement and gave the genre a name that stuck. It's aname that conjures up images of tentacled, post-nuclear fallouthumanoids letting loose and getting down on the crowded dance floor ofStudio 54. The intention was to showcase the edgier, more avant-gardeside of New York disco. The original LP contained only six songs, butfor the new CD re-issue, Ze Records has expanded it into a stunningtwo-CD set containing a total of 25 tracks, the bulk of their relevant12" dance output from 1979 to 1981. This music was years ahead of itstime, and will sound particularly relevant to those tuning into thesecond wave of avant-dance, characterized by current acts like Out Hud,Metro Area, Playgroup, and LCD Soundsystem. Many recent anthologies,such as Strut's Disco Not Disco series and Soul Jazz's New York Noise have attempted to document the scene, but Ze Records has the historical advantage of including the entire original Mutant Disco LP. Also, the overall focus on Mutant Discois much clearer, and the compilation boasts many rare tracks notavailable elsewhere other than the highly collectible original LPs,which frequently change hands for prices as high as $500. Was (Not Was)appear three times across the two discs. Their first track "Wheel MeOut" is a densely layered groove, combining sampling techniques, sleazyrock and bad jazz into an infectious disco-house number. Bill Laswell'sartist-collective Material produced a clutch of important singles andLPs in the early 80's, but for sheer fun it would be hard to beat therock-disco collision of "Bustin' Out," with vocals from soul diva NonaHendryx. Cristina's contribution is the first of several lightweightdisco remakes of classic rock songs on the collection, this one a coverof The Beatles' "Drive My Car" (produced by John Cale of VelvetUndergound, no less). I have never really liked the Latin dancepastiche of Kid Creole and the Coconuts, but their two contributions toMutant Disco are surprisingly addictive, especially thedislocated mambo of "Annie I'm Not Your Daddy." I'd rather shake my assto this than Los Del Rio any day of the week. The Aural Exciters areone of the more mysterious acts on this collection, appearing with apair of truly odd, dub-influenced disco deconstructions. It is nearlyimpossible to find any information on this band, but it's hard to denythe weird power of "Emile (Night Rate)," with its off-kilter percussionand spooky, echo-chambered chorus of women's screams. James White andthe Blacks (AKA James Chance and the Contortions), turn in theumpteenth re-recorded version of the gloriously warped no-wave classic"Contort Yourself," re-worked and extended for the dance floor. LizzyMercier Descloux was quite the scenester in post-punk New York - asavvy French waif who transformed herself from a first-generation punkinto a sassy disco diva. Her three songs are strangely prescient of alater NYC breakthrough dance-pop sexpot named Madonna. Descloux's coverof Arthur Brown's 60's psychedelic novelty-hit "Fire" would be puredisco cheese, were it not for the top-notch arrangements andproduction. Although I can't provide a description of every song on theanthology, there are also fine contributions from obscurities such asGarcons, Gichy Dan, Coati Mundi and Casino Music. Play any of thesetracks head-to-head with the accepted canon of classic disco artists -Larry Levan, Giorgio Moroder, Cerrone - and it holds up magnificently. Mutant Disco is nothing less than an essential document of dance music's adventurous past.
In 1981, anunderground New York label known for their influential roster of discoand no-wave artists released a seminal compilation of some of theirbest singles.With this release, Ze Records both solidified the definition of theleftfield disco movement and gave the genre a name that stuck. It's aname that conjures up images of tentacled, post-nuclear fallouthumanoids letting loose and getting down on the crowded dance floor ofStudio 54. The intention was to showcase the edgier, more avant-gardeside of New York disco. The original LP contained only six songs, butfor the new CD re-issue, Ze Records has expanded it into a stunningtwo-CD set containing a total of 25 tracks, the bulk of their relevant12" dance output from 1979 to 1981. This music was years ahead of itstime, and will sound particularly relevant to those tuning into thesecond wave of avant-dance, characterized by current acts like Out Hud,Metro Area, Playgroup, and LCD Soundsystem. Many recent anthologies,such as Strut's Disco Not Disco series and Soul Jazz's New York Noise have attempted to document the scene, but Ze Records has the historical advantage of including the entire original Mutant Disco LP. Also, the overall focus on Mutant Discois much clearer, and the compilation boasts many rare tracks notavailable elsewhere other than the highly collectible original LPs,which frequently change hands for prices as high as $500. Was (Not Was)appear three times across the two discs. Their first track "Wheel MeOut" is a densely layered groove, combining sampling techniques, sleazyrock and bad jazz into an infectious disco-house number. Bill Laswell'sartist-collective Material produced a clutch of important singles andLPs in the early 80's, but for sheer fun it would be hard to beat therock-disco collision of "Bustin' Out," with vocals from soul diva NonaHendryx. Cristina's contribution is the first of several lightweightdisco remakes of classic rock songs on the collection, this one a coverof The Beatles' "Drive My Car" (produced by John Cale of VelvetUndergound, no less). I have never really liked the Latin dancepastiche of Kid Creole and the Coconuts, but their two contributions toMutant Disco are surprisingly addictive, especially thedislocated mambo of "Annie I'm Not Your Daddy." I'd rather shake my assto this than Los Del Rio any day of the week. The Aural Exciters areone of the more mysterious acts on this collection, appearing with apair of truly odd, dub-influenced disco deconstructions. It is nearlyimpossible to find any information on this band, but it's hard to denythe weird power of "Emile (Night Rate)," with its off-kilter percussionand spooky, echo-chambered chorus of women's screams. James White andthe Blacks (AKA James Chance and the Contortions), turn in theumpteenth re-recorded version of the gloriously warped no-wave classic"Contort Yourself," re-worked and extended for the dance floor. LizzyMercier Descloux was quite the scenester in post-punk New York - asavvy French waif who transformed herself from a first-generation punkinto a sassy disco diva. Her three songs are strangely prescient of alater NYC breakthrough dance-pop sexpot named Madonna. Descloux's coverof Arthur Brown's 60's psychedelic novelty-hit "Fire" would be puredisco cheese, were it not for the top-notch arrangements andproduction. Although I can't provide a description of every song on theanthology, there are also fine contributions from obscurities such asGarcons, Gichy Dan, Coati Mundi and Casino Music. Play any of thesetracks head-to-head with the accepted canon of classic disco artists -Larry Levan, Giorgio Moroder, Cerrone - and it holds up magnificently. Mutant Disco is nothing less than an essential document of dance music's adventurous past.- Was (Not Was) - Wheel Me Out
- Aural Exciters - Emile (Night Rate)
- Lizzy Mercier Descloux - Fire
