Norwegian imprint Full Pupp releases its first CD release, the woefully titled Greatest Tits Volume 1. Founded by Stevie Kotey of Chicken Lips along with Prins Thomas , Full Pupp is famous reinterpreting ‘cosmic disco’. Cosmic disco first began in the early 70s when DJs like Danielle Baldelli , considered by some to be an Italian equivalent of New York’s Nicky Siano or Larry Levan , began to create something different. They mixed early electronic music like Kraftwerk with afrobeat and funk to create a distinct music style.

For the most part the compilation is intrinsically house music with various aspects of techno, italo disco and acid. However, many of the tracks are prone to heavy polyrhythmic percussive breakdowns akin to the original cosmic sound. The compilation contains two discs, one a DJ mix of Full Pupp artists and another unmixed. The first CD is mixed by Prins Thomas who really comes into his own on this compilation by remixing several of songs as well as including his own work.

The mix CD begins with the Balearic Skumle Planer by Marius Våreid . The track has a tender quality to it, like the caress of a late afternoon beam of sunlight. Todd Terje’s funkier Kul I Pul is seamlessly segued into the continuous mix. Followed by bongo filled Sandoz by Blackbelt Anderson . The mix continues in a similar fashion, ebbing and flowing with sonic peaks and valleys. Other memorably parts of Prins Thomas’ mix include Mental Overload’s percussive jam freak out, Original Material. The coupling of Kalle, Magnus & Daniel’s Homs with Todd Terje’s Italian Stallion is quite stellar as well.

The fact that the whole compilation is entirely composed of instrumentals is at first disorientating, but soon becomes enthralling as you focus on subtle aspects of the music. The lack of vocal tends to distance it from the original cosmic sound, which has a heavy focus on dubbed out disco, funk as well as pop music.

The compilation has a distinct style creating its own lush soundscape. There is a recurring aural palette, of acid filled Phuture like 303 bass squelches and italo synth lines as well as the ever present organic percussive elements. And Goettsching by Prins Thomas is another prime example of the label’s sound; glistening synths and a gritty bass guitar groove that moves in and out like a distant siren’s call. It is perhaps this human element within most of these tracks that make them so good. Most of the tracks inhabit a no man’s land between a lounge room and dance floor, perhaps going either way depending on the context.

This a very high quality release, full of excellent tracks containing most of Full Pupp’s catalogue. Perhaps the only complaint is that a number of the stands out tracks in the mixed segment are only available unmixed in vinyl format, though that leaves plenty of material for the next eagerly awaited volume.