Like two gnarled and dogeared black metal bookends, ‘Fangz’ and ‘Probiscus’ open and close Drone’s 'Light Speed EP' in wonderfully emphatic fashion. ‘Fangz’ is a brute that hammers its route, offering little in the way of respite other than a switch up in reverb. ‘Probiscus’ does the same blinkered thing, but with a deeply nagging riff. The other two cuts go just as hard. The EP's a deft exploration of tough nut instrumental grime. It’s got the perfect level of menace.
'Bluez (Classic Mix)/Und_92'
It’s a cliche for a reason, how a certain piece of music can transport you back to a moment in your life, instantly. ‘Bluez (Classic Mix)’ from Punch Drunk boss Peverelist, takes me back to those wintry evenings in Haringey, drinking Honeydew and lovingly scheduling tracks for two hours of radio. ‘Bluez’ has lost none of its potency, and it highlights Pev’s trademark ride cymbal swing. ‘Und_92’ is an unearthed track from that 2008/9 period, which rolls HARD with the same swagger.
Sector 7 Sounds
In a world full of clusterfucks, wronguns in power and a maddening saturation of shortsighted beliefs masquerading as political policy, it’s nice to see a sense of humour in the music of Lemzly Dale. ‘High Noon’ is a grime western, the Merky Ace collaboration ‘What We Do’ is a wry, slightly pompous, but super hard-hitting beat made out of what appears to be cats meowing, and ‘Go Away’ is a pitch drunk roller. Say hi to your new favourite oddball grime producer.
Following the release of ‘In Same’ on Par Avion’s inaugural compilation 12”, Henry Greenleaf offers up four dancefloor cuts that swim in the same bass deep, technoid waters as his fellow Bristol residents working at Livity Sound and Idle Hands. As a touchstone, that statement might be on the money, but it’s also rather reductive because, as Greenleaf displays on tracks such as ‘Half Under’ and ‘Fold Together’, he’s got a vivid scope and a glorious spatial awareness. A wonderfully strong debut proper.
The lead cut from Strict Face’s first long form/mixtape project, New Racer, is hyper joyful, in the type of way old Hud Mo beats are. Yeah, ‘Gold Citro’ is essentially just a celebratory, uplifting, caterwauling synth line, a thick sine wave bassline and one of those Godzilla-smashing-through-skyscrapers kind of rap beats but it’s so fucking pure; and that's pretty hard to hate on. After all some of the best things in life are simple. Spinach and ricotta.
The lead cut from Strict Face’s first long form/mixtape project, 'New Racer', is hyper joyful, in the way old Hud Mo beats are. Yeah, ‘Gold Citro’ is essentially just a celebratory, uplifting, caterwauling synth line, a thick sine wave bassline and one of those Godzilla-smashing-through-skyscrapers kind of rap beats, but it’s so fucking pure; and that's pretty hard to hate on. After all, some of the best things in life are simple.
'In My Head'
Even though, yeah, I missed it for last month’s page, Boofy’s four-tracker for Tectonic needs covering because, well, it’s kinda the epitome of what this review page is about. It’s a heavy and claustrophobic collection of music that’s moody and introspective, and yet it’s still individual as hell. Plus, it so clearly evolved from the annals of dubstep, which makes Pinch’s bastion of the sound the absolute perfect home for it. He even named a cut for my son, Herbie. Your time.
Evolution is a neat thing to watch, innit? To see someone experiment and win and then move on to different experiments and win all over again - that shit is satisfying. So it’s gratifying that Pearson Sounds’ intent on joining the dots between electro drums, nu skool breaks and insistent acid jams on his new, surprise three tracker. ‘Earwig’ is probably the most ‘fun’, a sort of Noah ‘40’ Shebib produced, bomb-303 roll out that feels exceedingly tongue in cheek.
As an observer, what makes Parris’ music stand out is how weird and how wanton it is. And I mean that in the best way possible; his exploration of slower tempos, oceans of space and the sincere way he forms his patterns are arresting, mostly in their indifference. A plugged in chap, you know he’s watching and listening and hearing what his contemporaries are doing, but he’s here, making tracks such as ‘Puro Rosaceaes’ and forging his own path.
Tracks such as ‘Rotation’ and ‘On Telegraph Hill’ mark Footshooter out as a fan of the swung shuffle of quasi-broken beat. Sure, I’ve gone on record many times to say that I am too, but what’s unique about the timbre and tone of the whole 'Technicolour Nights EP' is how serene and blissed out it is. Compare it directly with the dread of Boofy’s EP… it’s like night and day. Light and dark. Footshooter sounds like a very happy dude.