Myedits Vinyl & CDs

Review: Another week, another new re-edit series of mysterious origin. There's literally no info about the producer (or producers) behind this particular single-sided salvo, or the source material they've tampered with. Regardless, we'd heartily recommend giving it a listen. Firmly focused on peak-time floors, it wraps cut-up and manipulated female rap vocals over a formidably bouncy, turn-of-the-90s house beat and a rubbery synthesizer bassline so infectious you might need to self-isolate for two weeks after hearing it. This is hip-shaking, toe-tapping, arms-flailing retro-futurist hip-house at its very best: ignore at your peril!

Review: There's something pleasingly matter-or-fact about Moxy Muzik's edit series, which offers up single-sided revisions of classic cuts from uncredited producers. The series' latest instalment is something of an anthem in waiting - to our ears, at least. It offers a revolutionary remake of a classic hip-hop/hip-house cut, with elements of the rap periodically rising above a warped, bassline house style bassline (original Niche heads will love it) and chunky, floor-friendly beats that sit somewhere between 'dark garage' era Armand Van Helden, two-step and 4/4 London garage. It's big, bold and guaranteed to get dancefloors going. Job done!

Review: Moxy Edits shares the ninth edition to its fantastically frisky edits series, focusing on jacking UK house edits in a hip-hop and disco style. In bobbing fashion, A1 side 'Haha' reworks Little Simz' 'Gorilla' to huge, over double-time hip house effect, doing rapider justice to Simz' transmissive reworking of an original Beenie Man line. 'Meld' redoes a comparatively untraceable disco breather, providing an emotive 4x4 contrast.

Review: A seventh installment of the Moxy Edits series by the anonymous Myedits project, who rework old disco, funk and soul tracks into modern dancefloor weapons. Moxy Edits 007 features a singular, utter heater: a funky and upbeat edit of a classic by Q-Tip - 'Breathe And Stop' - which lends the song an added inflamamatory property, like a single-strike match pre-dipped in a deep-frying vat of liquid French house.

Review: Myedits is back, this time with the ever wonderful Moxy producing some pure dancefloor bait for those who like to mix up classic samples with raw house beats. The A-side takes some turn of the century hip-hop hooks and vocal snatches and layers them over raw, hardcore house drums that are sure to get any party sweating. Track two is no less irresistible - a gorgeous r&b hook plays out over some lush deep house drums with a great sense of swing and silky synth designs. Good fun stuff for sure.

Review: While the required mystery means that we can never be quite sure who is behind the Moxy Edits series and My Edits imprint, many are reportedly by the man behind the Moxy Music label, house hero Darius Syrossian. We suspect - though cannot confirm - that he's at the control on this latest instalment in the series, which feature two house reworks of classic cuts. On A-side 'In The Know', he delivers a killer slab of warehouse-ready hip-house, where a familiar, high-octane rap rides heavy-but-bouncy beats, an infectious bassline and occasional blasts of the infamous (and much-sampled) 'Apache' break. Over on side B, 'Square Hole' is a housed-up take on a Steely Dan classic previously sampled by De La Soul. Both cuts are bona fide party classics in the making.

Review: Single-sided white label business from Moxy Edits, who ignite the dancefloor once more with a slick yet somewhat surreal Cypress Hill flip. A hugely wompy kick is heard teasing, highpassing and re-dropping its bass, as the unmistakable proto-Danny Brown register of the group's founding member and rapper B-Real are heard in characteristic nasal fashion over this hip-garage rendition of 'Insane In The Brain'. Be warned: there's simply no let-up with this one. Move as quick as its 4x4s do.

Review: More from the reliable Moxy Edits series, a sneaky, rework-focused offshoot of Darius Syrossian's Mozy Muzik label. This time round, there's no superfluous filler and alternative versions, just a sole, peak-time focused workout that's been designed to have maximum dancefloor impact. What's on offer is unusual but rather brilliant: a tooled-up house revision of a classic chunk of psychedelic era pop cut that wraps jangly guitars and a glassy-eyed female vocal around a driving bassline and sweaty house beats. It's a simple idea that's been brilliantly executed and far more tasteful than it has any right to be. In other words, it's a genuinely good bootleg remix that you'll hear loads in clubs in the weeks and months ahead.