magou: who is magou?

Who is Magou? All Toy Tonics knows is that, two years ago, the label released a 12" EP that created a little buzz on this artist without a face and social media. The only clue is that Magou is allegedly a mysterious side-project by an otherwise well-known Italian music maker, producer, and DJ. Who cares about fame? This one is all about the music, so Toy Tonics is now back with a sassy double-LP release of Magou's full album. Who Is Magou? contains eight killers and no fillers, all based on elements of disco vibes, acid, synthpop, new wave, electro boogie, deep house blended in a classy, understated manner which supersedes the cheese and sleaze typically associated with Italo disco or the "anything goes" pastiche of postmodern retromania. Just listen to "Sample Dream": a rolling groove monster that creates deep euphoria on dancers for sure. Also "Round Round" is a maybe odd but sharp DJ tool: a quirky Balearic synth-funk trip -- that sort of old school track that record collectors would be killing for, had it been released in 1984. "Pas Jolie" goes even further and probably as fat as disco can get: a beefy chunk of synth house/Italo dance fusion, powered by a throbbing, relentless bass line. Then, on "Dejarte" Magou goes deeper in the feeling with this hazier slab of dub disco, with a hint of Mediterranean flavor and Balearic beat. With "Heather's Body" Magou plays with early '80s fitness disco-boogie aesthetic, absorbed during endless Sunday afternoons spent in front of brash Italian TV revues. "Eco" is dedicated to the renowned Italian semiologist, popular cultural critic and novelist, Umberto Eco. The author is featured on an acid disco-funk number and Umberto's chopped voiceover appear to be lecturing dancer with a witty commentary. While the 1980s Italo was often quite cheesy and referencing shallow popular culture tropes, Magou nobilitates the dancefloor by "showcasing" some 20th century intellectuals, such as Eco and Borges. In fact, Magou dedicates a whole track to Argentinian writer Jorge Luis Borges -- the funkiest cut in the album, with bouncing bass licks and endless grooving joy. Italian maestro Ennio Morricone is given an homage on the final track: a great outro which combines city pop atmosphere, un-acid TB-303 sequences, and a highly cinematic children choir, reminiscent of Italian Giallo movies.