Review: Hampshire-based Groove Motion - AKA DJ/production duo Wayne Altham and Jack Henwood - describe their style as "bangin' soulful music". Certainly, there's plenty of soul to be found throughout this debut release for Midnight Riot. Throughout, they impeccably blur the boundaries between re-edits, remixes and original productions, delivering new takes on classic tracks with plenty of cool musical flourishes. Check, for example, the deliciously evocative piano solos on their breezy house version of The Jones Girls' "Nights Over Egypt" (here renamed "To The Music"), or the sparkling guitars and tactile chords of Sade re-cut "Nothing Can". There's also a cheery, sun-flecked goodness to "So Good To Me", their house-friendly version of Donald Byrd's Paradise Garage classic "Love Has Come Around".
Review: Re-edit scamp Groove Motion has a reputation for tackling some mightily untouchable classics, and more often than not, at least reaching a draw with the original. Previously the likes of Carly Simon and Chic have all been fair game for GM, but here we get the kind of smoothly ecstatic soulful house heard in late 80s warehouses on "Its Just The Same Old", whilst Steve Arrington's classic, Feel So Real gets gently beefed up and "Rock To The Rhythm" is techy, soft focus disco house at its finest.
Review: More gung-ho re-edit and rework business from the long-running Chopshop imprint, this time with a distinctly summery feel. As usual, there's plenty of variety, and tried-and-tested reworks that lock classic cuts into contemporary trends. Groove Motion gets things going with a distinctly dubbed-out take on Carly Simon's Balearic classic "Why" - think filters and delay aplenty - before Dave Gerrard delivers a sparkling, loopy dub of "Glow at Night" - all lazy jazz guitar solos, flexible disco bass, twinkling pianos and clipped guitars. Ilya Santana provides some decidedly dubby, quirky early '80s post-punk chunkiness in the shape of the excellent "Boomerang" (probably our pick), before Touchsoul instils some percussive swing and disco-funk sassiness to his late night delight "Mazed Projections".
Review: There's a reason that Midnight Riot's eponymous compilations frequently charge to the top of the Juno Download charts. Put simply, they never disappoint. This ninth installment sticks to the now tried-and-tested formula - house-friendly re-edits and originals from across the disco, boogie, soul and funk spectrum - but predictably hits the spot throughout. As usual, there's a bonus mix - this time put together by globe-trotting scalpel jockey Rayko - and tracks come from both label regulars ('80s Child, Ziggy Phunk, Chewy Funk) and an impressive array of new or unheralded talents. It's in the latter category that you'll find some of the most impressive fare - see Phil Jaimes deliciously Balearic "Nowhere To Hide" and Cosmocomics' kaleidoscopic synth-funk jam "Mary Jane" - though the standard remains pleasingly high throughout.
Review: Fingerman's Hot Digits imprint has always reflected his production style, delivering releases that gleefully blur the boundaries between re-edits, remixes and original material, and blend elements of disco, funk, soul, boogie and deep house. This groovy, warm and floor-friendly formula is much in evidence on this first anniversary compilation. Featuring a blend of previously released gear, exclusives and a bonus DJ mix from Fingerman, Hot Digits: Year One is an effortlessly entertaining collection. There's naturally much to admire, from the subtle house beats and P-funk synths of Fingerman's own "Shine Yo Litez" (a rework of an old Grangers tune), and the disco-funk chunkiness of Groove Motion's "Party Now", to the compressed, dubbed-out disco house madness of Chewy Rubs' "Let It Go".
Review: It may be detox January for some, but for Yam Who, it's champagne o'clock as he sees his label series reach its tenth volume. There's a mind boggling 27 tracks featured here, a veritable smorgasbord of deliciously disco tuneage. Highlights include the chaotic hiNRG of Seamus Haji's "ReLoved", the tough, but soulful, jacker "Many Lovers" by Judge Funk and the smooth, synth-boogie of "Takes Me Out" by G Prajekts.