Review:
Warrington's Danny Worral has carved out a niche for himself delivering robust, floor-friendly re-edits that specifically rework synth-laden '80s electrofunk, soul and boogie jams. Here he presents his first album of reworks for regular home Midnight Riot. The source material is a mixture of the well known and slightly obscure, with the likes of the Whispers, Prince and the Aleems under the scalpel. Worral keeps the feel of the original tracks - including, in most cases, the vocals - giving them a little more contemporary dancefloor swing, largely thanks to extra-fat beats, subtle house rhythms and thick synth basslines. It's an attractive proposition for anyone who enjoys synth-laden '80s jams. Highlights are plentiful, from the glassy-eyed fun of the title track through to the soulful house shuffle of closer "In Your Life".
Review:
Warrington-based 80s Child is turning into a one-man re-edit machine, delivering floor-friendly touch-ups of synth-heavy electrofunk, 80s soul and boogie jams on a regular basis. There's naturally much to admire about this third EP for regular home Midnight Riot, from the rolling boogie-house revision of stone cold classic "Flashback" - all carefully cultivated loops, filters and metronomic pulse - to the chiming synthesizer melodies, vocal breakdowns and delay-laden drums of "This Love". Arguably best of all, though, is the heavyweight swing, looped vocals and killer synth bass flex of "Run From My Love", one of his strongest rubs to date.
Review:
Following a pair of well-received outings on Ruben & Ra's Retrospective imprint, 1980s re-edit specialist Danny Worrall pops up on Midnight Riot with another five-track collection of electrofunk rubs. There's plenty of party-starting fodder on show, from the bustling horns and rubbery grooves of opener "Make You Mine" to the Prince style Purple Funk throb of "Hot", and shiny synths and looped vocals of "My Future is Clear". Arguably best of all, though, is the sumptuous '80s soul re cut "Secret Love". There's also a version of Hall & Oates "I Can't Go For That", though it barely changes the original's winning formula.
Review:
Warrington-based 1980s obsessive Danny "80s Child" Worrall tends to eschew the obvious, delivering re-edits of '80s soul jams and overproduced, mid-'80s electrofunk curiosities. He's at it again here, dropping five more soulful, synth-laden nuggets for the Midnight Riot label. There's some saucer-eyed '80s soul in the shape of the touchy-feely "Missing", some gigantic, radio-friendly synth-rock ("Control"), and a dash of deliciously smooth, slow-dance fare ("Kiss U"). Better still is the New Jack Swing-flavoured dayglo rush of "Be Together", and "All Alone", a riotous electrofunk jam built around a familiar bassline and Shep Pettibone style drum edits.
Review:
Midnight Riot isn't messing around with this collection of remixes of tracks from Detroit veteran Amp Fiddler's recent Motor City Booty set. Label boss Yam Who has pulled out all the stops, drawing on both Midnight Riot regulars and genuinely hot talents such as Eli Escobar (whose slick, soulful house rub of "Soul Fly Part 2" is a highlight), Thatmanmonkz, Inkswel and Mark E (who genuinely steals the show with a dreamy, mid-tempo take on "Superficial"). Taken as a whole, it's far more "killer" than "filler", with sterling contributions from Sam Redmore (dub-flecked Afro-house goodness), Kid Sublime (sun-kissed boogie-soul), chewy Rubs (low-slung disco-house heaviness), and Modified Man (synth-heavy broken beat).
Review:
The Sound of Detroit by one of it's unsung heroes, Amp Fiddlers new album Motor City Booty coming straight off the D Funk assembly line, a full on dance floor affair from Motown to P-Funk, Techno and Neo Soul. This 11 track album produced by Amp Fiddler & Yam Who? includes the massive 'Soul Fly' sounding like a Mark Ronson production had he been hanging out with George Clinton's Parlet followed by the bonafide P-Funk anthem 'Steppin' both featuring the stunning vocals by the Dames Brown girls. Amp Fiddler is credited for taking both a young J Dilla and also Q-Tip under his wing teaching them his Akai MPC techniques, setting the path for some of Hip Hops finest recordings which have defined the shape of things to come. His musical collaborations & current duties include: Moodymann's musical maestro, keyboard wizard for Theo Parrish's live band, a longstanding Funkadelic member, co-writer for Sly & Robbie, Prince, Maxwell, Jamiroquai & Seal to name a few.
Review:
Midnight Riot begins its second century of releases with what appears to be a label debut. They're keeping tight-lipped about the identity of Barbi (and pretty much everything else about this release), so we'll quickly move on to the two tasty tracks that make up the EP. Opener "I Need To Know" is something of a bustling, rolling, bass-heavy disco-funk treat, where punchy horns, cut-glass strings, bluesy guitars, incessant Hammond lines and gravel-throated vocals wrap themselves around a relentless groove. Flip to the virtual B-side for "Too Late", a similarly inclined chunk of effects-laden, horn heavy disco haziness with plenty of bottom-end bounce.
Review:
Those who follow Belabouche on SoundCloud will know just what a prodigious re-editor he is; not a week seems to pass without a clutch of new scalpel works from the talented Italian producer. Here he brings his effortlessly soulful, loose-limbed approach to Yam Who's Midnight Riot label for the first time. All five tracks are excellent, with the baggy, string-drenched disco-soul bump of "Slide Into Your Heart" and dubwise funk thrust of "Money Runner" standing out. He mixes up the tempos well, with the EP's two slower moments - the sinewy jazz-funk headiness of "Open Your Mind" and intoxicating, horn-heavy "The Way We Live" - being particularly potent. If you're after edits that match dancefloor chops with an easy soulfulness, this should be an essential purchase.
Review:
Keeping the fire burning for disco freaks everywhere, Big Danny Kane sidles up to Midnight Riot with a plush EP of rich, warm groovers for all kinds of different times of night. "The One" especially shines with its punchy electro funk b-line and a hook vocal turn from Princess Freesia, capturing that mid-'80s mood in an impeccable fashion. "Octopussy" and "Rock Me" inject a little more house-minded pump into the proceedings, but the chunky synth lines and slick rhythmic edits still represent the core of Daddy Kane's ample repertoire. Keep an ear out for the radio-friendly funk of "Need Ur Love" which comes on like late era Fatback Band and sounds all the better for it.
Review:
2015 has been a good year for Olivier Tunier, arguably one of the re-edit scene's most under-appreciated scalpel specialists. Having already unleashed fine EPs on Whiskey Disco, Phat Elephant and Hot Digits, the Amsterdam-based producer delivers another cracking quartet of reworks on Midnight Riot. As usual, he touches on a number of styles, moving from the percussive, strobe-lit disco hustle of the superb "Get Up", to the straightened-out Caribbean disco grooves of "Reggae Tempo", via the dense tropical percussion, jaunty horns and sweet Brazilian vocals of "Um Ba Yao". Best of all, though, is "Yes I Know My Way", a blinding blast of audio sunshine blessed with breezy piano hooks, impassioned blue-eyed soul vocals and deliciously swinging beats.
Review:
Whisper it quietly, but this is Midnight Riot's one-hundredth release. Label boss Yam Who isn't making much of a song and dance about such a momentous occasion, though The Coburg Disco Association is certainly a strong offering. What's arguably most impressive is the hazy, hip-hop-minded fusion of elements driving Inkswel's brilliant "Half Pipe" (credited to his INXXXWEL alter-ego), which combines the producer's love of squelchy analogue synth bass and swinging, MPC-driven beats with hazy rap samples and elements borrowed from a classic chunk of early '80s disco-boogie. You'll find a similar ethos at the heart of Rela's blissful, R&B/Balearica fusion "So Beautiful", too. Elsewhere, Booshank peppers a rock solid proto-house groove with alien electronics and swirling vocal samples, while Paz expertly rearranges a killer Afrobeat excursion.
Review:
Some hot nu-disco grooves from South African producer Brian Basil van Heerden here on the Wild Cat EP. He is founder and owner of the legendary vinyl store Camino Records, DJ since 1998, founder and owner of Strutmode Recordings - in addition to being one half of Janova Jacks and Southside High. From the slo-mo/lo-slung sleaze of "Funking It Up" and the title track - which is followed by by an electric rendition by label stalwarts Yam?Who and the late night boogie down groove of "Flashback" - it is clear that Brian Snr can bring the funk, whatever the occasion!
Review:
Grecian DJ/producer C Da Afro is beginning to build up an impressive discography. Impressively, Midnight Riot is the 20th label he's released on to date. Soul Grooves is his first EP for the imprint, and contains a quartet of floor-friendly tracks that sit somewhere between remixes, re-edits and original productions. So while "Soul Groove" is based heavily on Matsubara's Paradise Garage fave "S.O.S (Society Of Soul)", C Da Afro has added a swathe of new synthesizer parts to compliment the original's killer jazz-funk guitars. We must presume the same process has been followed on the tactile electrofunk bomb "I've Got This Feeling", and the almost overpowering synthesizer bliss of Balearic boogie closer "You Mae Me Feel So Good".
Review:
Greek re-editor and remixer C Da Afro was one of the nu-disco success stories of 2016, so hopes are naturally high for his first outing of 2017. Lost In Echo is predictably strong, offering up a trio of tracks that gleefully blurs the boundaries between re-editing and original production. We're particularly enjoying the low-slung disco-funk grooves, fluid additional percussion hits, breezy vocals and dub disco effects of "Say You'll Be Mine", though sweet, boogie-based opener "You Don't Know" - all meandering organ lines, loved-up chord progressions, rubbery guitars and sing-along vocals - is arguably the EP's most floor-friendly moment. The pitched-down disco camp of "Tell Me Something" is pleasingly dubbed-out, too.
Review:
Athens based C Da Afro is radio Producer and owner Of Nitro Radio 102.5 FM. He delivers some neon-lit boogie down funk on his new offering entitled "Too Hot To Handle". With previous releases on Editorial Records, Spa In Disco, Alpaca Edits and fellow Greek George Kelly's Chop Shop Music: this guy certainly ain't messing around! For something a bit more low-slung (and definitely slo-mo) we'd say next offering "Passion Fruit" is certainly a tip for the early evening or late night alike. Finally "Rebel Disco" gets some swagger on via a '70s rock/disco fusion reminiscent of Frank Farian's legendary work in the era. These edits certainly are obscure enough (by our standards anyway) and certainly sound respectful - which is the main thing. Above all they are reliable dancefloor fodder for any discerning nu-disco DJ and we'd recommend them for sure.
Review:
When it comes to serving up floor-friendly re-edits of largely overlooked disco and boogie cuts, few producers hit the mark quite as consistelt as C Da Afro. The Greek producer has delivered tasty reworks for a dizzying array of labels over the years, none more so than the mighty Midnight Riot. He's at it again here, too, with what we believe to be his fifth outing on Yam Who's label. Choose between the rolling, jazz guitar-laden disco-funk bump of "The Shadow", the filter tricks and effervescent synthesizer/piano solos of cheery disco-boogie shuffler "Moving On Up" and the sparkling, Italo disco-meets-electrofunk brilliance of title track "Playboy Boogie",
which is arguably the strongest moment on another fine EP.
Review:
Grecian producers C Da Afro and J.B Boogie first joined forces last year, releasing an E.P of filter-heavy disco/house fusions on SpinCat Records. Here, the Athens-based duo delivers more similarly celebratory, party-ready fare for Midnight Riot. They begin with the rolling, 109 BPM goodness of "Feel My Life", a delicious fusion of sparkling synths, glittery guitar lines, smooth vocals and head-nodding grooves. "Together (Guitar Mix)" craftily turns a lesser-known, mid-tempo boogie jam into a guitar and synth solo-laden, eyes-closed monster. Best of all, though, is the shirts-off pomp of "Bad Disco Lady", which gains much of its dancefloor power thanks to the combination of extended, filter-laden breakdowns and notable drops.
Review:
Such Is Yam Who's commitment to nu-disco, that even during the festive season his Midnight Riot label is pumping out numerous winter warmers. This Jump EP contains four retro-futuristic joints all of which are culled from only the most neon lit of '80s dancefloors. Highlights include the chopped up robo-funk "Jump", the slow and low, leather tracksuited bassy grind "You're The One" and the tougher, electronic rare groover "Melody".
Review:
Having previously tasted success by delivering re-edits and reworks of disco and boogie cuts, the latest Midnight Riot missive flips the script. It features rising house producer Chaka Kenn delivering reworks that pay tribute to the glory days of house in the late 1980s. "Why Waste Your Time" is a perfectly executed revision of a well-known favourite from the turn of the '90s, with the producer making great use of the original's sparking piano riffs, synthesized string stabs, bouncy synth bassline and snippets of the familiar vocal. It's accompanied by an arguably even stronger Dub and "Who's At The Front Door", which seemingly stitches together bits from classic deep house tracks that all have the same title (listen, and you'll get what we're on about).
Review:
UK comer Chewy Rubs (Deep Sense/Chopshop/Situation Sounds) is up next for London's Midnight Riot. It's all things retro ("Cosmo Disco"), slo-mo ("To The Party") and indeed lo-slung ("Gonna Make You Feel"), these four lush and loopy disco jams that still retain their dusty and vintage sensibilities and are quality jams that are welcome additions to any serious Disco Stu's arsenal.
Review:
Unheralded re-edit master Chewy Rubs pops up on Midnight Riot with four more tried-and-tested chunks of discoid gold. The rubbery, delay-laden boogie of "Universal Love" - think slap-bass, echoing vocal samples, synth squiggles and shuffling house drums - kicks things off, before "Party On & Get Down" successfully rearranges a smooth disco-funk shuffler. There's a dash of subdued disco bounce in the shape of "I'll Tell You", before "Let It Lay" delivers the knock-out punch - a righteous chunk of squidgy P-funk with just the right amount of delay-laden low-slung disco flavour. All four tracks are expertly teased and tweaked, suggesting they'll prove popular on disco floors over the next few months.
Review:
The re-edit scene's tallest, most hirsute scalpel fiend invites us to step aboard the Millennium Falcon for a five-track party of intergalactic proportions. There's naturally much to set the pulse racing, from the epic, proto-house style delays and sharp synth stabs of sleazy electrofunk chugger "Everybody Follows A Leader (Retro Dub)", to the hard, sax-laden disco funk romp of "Feel Good Today" and locked-in Balearic deep house trip of "Talk About Free Love". Also impressive is the hairy one's loose, jazzy and rolling hook-up with Disko Tech sort M Christian, "Sesh 1". In other words, it's another strong set of reworks from a galaxy far, far away.
Review:
Combining tech house with a disco sound may not seem an obvious pairing, but that is where this London producer is coming from, and he does it extremely well. "Thru The Night" is dreamy, housed up, electro-soul, "Truth" adds trancey gospel to the mix and "Love Sunday" sprinkles some spaced out disco dust on the Cherille/Alexander O'Neal classic Saturday Love. It's all mesmerising snowflakes-at-night deep and electro-house on "If U Want Me". "Pressure" is fluffy clouds o'clock - all blissed out electro-pop- whilst "Your Girl" ends things on a haunting disco high.
Review:
Following a lauded appearance on Particle Zoo Recordings, Rich Hall (no, not the grizzled American comedian) and Megan Jones bring their Cuz Electric project back to Midnight Riot. As label boss Yam Who is a big fan of their work, it's little surprise to see him deliver a brilliant remix of "Wonda's Revenge" that sounds like a nine-minute tribute to Odyssey with added kaleidoscopic synth flourishes. The duo's original version of the same track - an electric guitar sporting, arpeggio-driven nu-disco throb-job - follows, before we're treated to two versions of "Holding On". While the duo's original version is a dreamy, rush-inducing Balearic disco treat full of spine-tingling '80s synth-pop chords and jaunty piano riffs, it's Bachgenaur's slap bass-boasting boogie revision that hits home hardest.
Review:
Dexter Jones is an artist so new he hasn't even finished his SoundCloud profile yet. This, ladies and gentlemen, is how Yam Who? roll when searching for the latest talent for their Midnight Riot label. He may be a newbie but Jones has the production chops of a veteran. "Step Into The Mood" starts things with some tight funk guitar, bongo rhythms and falsetto vocals. Next, "Disco Poison" is all about mellow keys and afternoon poolside fantasy, "Hope You Feel The Same" is pure 80s chrome and carpet slap-bass-boogie and "Funkador" is a dreamy up tempo disco house serenade.
Review:
Greek producer Dim Zach has been successfully plying his trade as a DJ - and latterly producer - for the best part of three decades. Innocence marks the first appearance on Midnight Riot from the self-styled "Balearic vibes master". He hits the ground running, doffing a cap to the rush-inducing electrofunk-soul of Imagination on dreamy synth-heavy opener "Innocence". In true Balearic fashion, he reaches for the acoustic guitars on tactile, 103 BPM shuffler "Abigail" before gently jogging into sun-kissed nu-disco territory on chiming, Italo-disco influenced bubbler "Do You". Those looking for a more peak-time tempo should head to "Amour Inconditionel", a wonderfully rich and colourful tribute to classic Italian dream house full of whispered female vocals, tumbling chords and looped organ riffs.
Review:
Prolific scalpel sort Disco Funk Spinner returns to Midnight Riot with another double dose of tried-and-tested re-edit business. Many diggers will recognize the source material for "Yes U Can", a 1982, P-funk flavoured jam from a roller-boogie great (and his macho accomplice) that the Disco Funk spinner has subtly toughened up and straightened out via the use of organic sounding additional percussion. In contrast, "Inch of a Prince" is a sleazy, seductive, eyes-closed disco smoker full of breathy female vocals, crisp guitar licks, sparkling melody lines and a suitably elastic bassline. Like its predecessor, it's a rock solid edit that should suit all those who like to sprinkle a little eccentric disco magic into their sets.
Review:
For the latest release on his prolific Midnight Riot label, Yam Who has parachuted in special scalpel agents Disco Troopers. The all-action All Night Long EP is a perfect showcase of their style, which blends big disco samples and even larger beats with original electronic elements inspired by acid house and Italo-disco. The EP's headline attraction is undoubtedly opener "All Night Long", which underpins surging orchestral disco samples with heavy analogue bass and crunchy house beats. The strangely familiar "Eleven" sees them expertly blended druggy TB-303 motifs with spacey chords and Italo-disco style arpeggio lines, while "Howlin" is a fuzzy, cosmic disco vocal cut for dancefloors that like their grooves wavy and psychedelic.
Review:
Yam Who? have always worn their disco hearts on the disco sleeves. Here however they've gone covert, signing DL Edits to their Midnight Riot label. The results are five shifty edits that get up to all kinds of shizzle when no one's looking. First we get "Floor Wax" which is irresistible early 80s pop-rap with a little modern umph in the drums dept. Next up is "Bones To Pick" sees a tight, 70s style funk riff cruise underneath a husky hip-hop vocal. "Table Manners" is classic mid 80s linn drum soul and lastly "Shunters" wraps things up with some furious and frenetic Afrobeat mayhem.
Review:
Don Dayglow is the new disco rework project from Abu Dhabi-based DJ/producer Adam Hignell, who originally rose to prominence under the Ewan Hoozami alias. As you'd expect, Power is full of party-friendly treats, from the filtered disco loops, percussive build-ups, heavily worked samples and Leroy Burgess style vocals of "Hustler", to the hard-wired P-funk cut-ups of "Slyde 2 Boogie" and high-octane disco-funk heaviness of "Party", which accompanies an all-new arrangement of a well-loved classic with tasty new percussion. Arguably best of all, though, is "Power", an irrepressible disco-boogie romp full of rubbery slap bass, punchy horns, celebratory vocals and addictive synthesizer flourishes.
Review:
Midnight Riot's latest re-edit/rework outing is an all-star affair, with a variety of cheeky scamps delivering a track each. Dot 40 manage to turn in a genuinely revelatory version of a classic in "I Believe", which impressively chops and loops a Jackson Sisters' classic before unleashing the song's party-starting powers as it progresses. GG re-invents a Modern Romance classic as a spiraling, Latin nu-disco throbber, while A Digital Needle make merry with another familiar disco-soul classic, impressively teasing out the vocal and instrumental solos. Best of all, though, is Fatneck's "Circulate", which subtly breathes new life into a White Isle-friendly blue-eyed soul classic.
Review:
Although known as a nu-disco re-edit label, Midnight Riot regularly prefers the synthy, glitzy soul side of the '80s. No problem there, as much of that stuff crossed over to the disco side of things in that wonderful era of musical cross-pollination. Leading the charge is "Touch Of Magic", which basically takes all the best bits of Rose Royce's 1984 tropical synth-soul gem Magic Touch and makes it ten times better, Elsewhere we get a further five more slices of this shizzle including the deep, almost Balearic "Paradise" and the totally buggin' freak funk of "Taxis In Space".
Review:
Guildford-based Evil Smarty is arguably best known for his collaborative work with Bad Barbie, though he has previously put out solo releases on Tonbe's Disco Fruit imprint. Here, he goes it alone once more, delivering a four-track missive of cheery reworks for Midnight Riot. "Hot" is a prize chunk of rolling disco-house built around a rising and falling piano line, jaunty horns, occasional synths and a booming groove. "Don't Want To Stop" is a starry disco-funk affair that benefits greatly from a beefed-up bassline and notable Clavinet lines, while "Take It" sees him charge off successfully into Afro-funk territory. Finally, he slows things down a little on the dreamy and loved-up "The Disco Beat".
Review:
An Argentinian born, London dwelling, veteran DJ with about three decades experience of rocking dancefloors, Fabiolous Barker is a seasoned pro. Here he delivers more of his hard-hitting disco house reworks for Midnight Riot. There's a maturity to these tunes - with highlights including the deep and synthy sauce-house grinder "The Paradise", the campy '70s disco-rocker "Tattoo" and the cool Miami freestyle electro restyling of Bryan Ferry's "Limbo". Sophisticated boogie!
Review:
Argentinian-in-London seems to be building up something of a head of steam this year, delivering a swathe of fine releases on the likes of Sound Exhibitions, Masterworks Music, Hotbox Music and Midnight Riot. Here he returns to the latter with more tried-and-tested blends of disco re-edits and groovy house rhythms. His default mode - as expertly outlined on the soaring sweetness of "The Real Thing" and "Liquid Gold" - is effortless party starting, offering exactly the right balance between 21st century house swing and cheery disco authenticity. The EP also boasts a couple of reworks-of-edits, most notably from Midnight Riot boss Yam Who. His chunky, loopy version of "Music" is an undoubted EP highlight.
Review:
To us the name Frank Virgilio conjures up impressions of an Italian-American medallion man, a master of disco, strong cologne and exposed chests (of all kinds). The distinct waft of the 1970s will emanate from your speakers when you press play. There are four tough and strutting cuts here, as hard hitting as Rocky. "Inside Out" sees the Gibbs take ecstasy and get looped outta their minds, "2 Late" is a slow, New Beat style re-edit of an electro soul gem and "Meltin Melton" is a loose and live heavy funk cut. Lastly "Somebody Else" ends things with some serious, chopped-up attitude.
Review:
UK production duo Michael Gray and Jon Pearn aka Full Intention are back, making a surprising appearance on London nu-disco heroes Midnight Riot. Rest assured that it's a fitting home for these legends and their irresistible vocal driven anthems - these guys have worked with everyone from Jamiroquai to Ultra Nate and many more. With a bit of help from highly qualified record label exec/artist manager Nick Halkes (who forged his reputation by founding both the XL Recordings and Positiva labels) and featuring Bournemouth based chanteuse Jazz Morley's powerful vocal delivery, "Night Of My Life" is sexy and down right scorching nu-disco done right. Features Gray and Pearn's immaculate, signature production technique throughout.
Review:
Scalpel fiend Justin Green dons his GG Edits guise for another outing on Midnight Riot, some 10 months on from his last outing. As usual, there's much for dusty-fingered crate diggers to enjoy. Opener "Never Danced" is an undulating, string-laden disco singalong, with Green getting just the right balance between the bold vocals and extended instrumental passages. "So In Love" is a loose, baggy and hugely enjoyable extension of a familiar soul classic, while "Don't You Want Me (Minnie Extension)" takes a trip into the world of rare groove and '80s soul, adding some booming - if pleasingly swinging - percussion to cater for the needs of 21st century dancefloors.
Review:
Edoardo Barbi first donned the Gledd alias earlier this month, contributing two Afro-tinged reworks to About Disco's On The Afro Funk Trail EP. This time round, he's in full on peak-time disco mode. Check, for example, opener "Better", where familiar horn lines and spacey synth solos cluster around his tactile grooves and carefully arranged Latin disco style samples. Barbi reaches for the filters on "NY City", a pleasingly loose but bass-heavy cut that borrows extensively from a once popular disco-funk workout, before rounding off proceedings via the thrillingly riotous, horn-heavy stomp of sweaty closer "Foxy".
Review:
Boston, Massachusetts-based Brit Ben Adams has previously contributed tracks to Midnight Riot compilations, so it's little surprise to see him being given a full EP on which to showcase his wares. Under the GMGN guise, Adams has developed a sound that joins the dots between surging, party-friendly house, disco re-edits, and punchy, electro-influenced breaks. That fun-time, floor-friendly blend is evident through the five tracks here, from the sweaty bump of opener "Make Lemons Not War", to the bustling, bass music-influenced disco-house throb of "Senior Runner". Arguably the best of a strong bunch of "Striped Red", which sees Adams' make merry with weighty beats, crunchy looped guitars, tweaked filter effects and some seriously heavy horn solos.
