Review: Ex-RAMP Recordings boss Tom Kerridge's Girls Of The Internet - started as a one-man studio project five years ago, but now an actual live band - release their debut long-player on Kerridge's own Drab Queen imprint. The album features eight different vocalists (all but two female) across its nine tracks, which is one reason it's so hard to easily categorise under any one genre. Instead, Kerridge & Co mix up influences from soul, funk, R&B, house, UKG and pop to create a musical stew that's never predictable and always interesting, though most highly recommended for fans of quirky electronic dance-pop, leftfield house and alt-R&B.
Review: Midnight Riot's first celebration of gospel-fired disco and boogie, "Take It To Church", was rather special, so hopes are naturally high for this follow-up. Happily, we can confirm that Yam Who and company have once again nailed the brief. As with its predecessor, the 23-track set offers up a scintillating, soulful mixture of bumpin' gospel house (see Redsoul's superb "Born Again" and DJ Spen's bass-heavy tweak of Boorman's "God's Got It"), righteous disco-house (the Showfa, Alan Dixon, the piano-heavy stomp of Yam Who's "Tomorrow"), synth-laden gospel boogie (Dr Packer, Yam Who's tidy revision of Andre Esput's "Call Me"), breezy sing-alongs (Lux Experience) and plenty of dusty disco, electrofunk soul rearrangements (Divine Situation, Sweet Jubilees, Phil Jaimes). In other words, it's another essential collection.
Review: Rather confusingly, Girls of the Internet are not scantily clad ladies with a passion for music production and webcams, but rather two mask-wearing blokes who closely guard their secrecy. This is their first single since 2014 and marks their first appearance on Derrick Carter and Luke Solomon's long running house imprint, Classic. Interesting, "When U Go" is something of a slinky and seductive affair; an unfussy, slow burn deep house shuffler blessed with in immaculately soulful vocal and some subtle jazz guitar flourishes. Italian producer MoBlack provides the obligatory remixes. His two revisions (vocal and dub) add a little rhythmic pressure (thanks to some jaunty, bossa-house beats) and subtle dreaminess, whilst retaining the best parts of the duo's simmering original mix.