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Singles - Garage - Issue 555


Missed Calls EP


It’s hard not to hear the influence of a celebrated weirdo-producer like Scratcha DVA in a track like ‘Death Slide’, but Lamont also manages to slip in some of the clean, clattering percussion and bombastic sirens of ‘Squark’-era Roska at the same time. What’s really exciting though is that he doesn't actually sound like either of those dudes, at any time. As much LV's ‘Northern Line’ as he is Wen's ‘Swingin’’, I need to hear more Lamont ASAFP.


'Arctic Garms EP'

White Peach

There’s certainly variety on Shudan’s four-tracker for the blossoming White Peach label. The firstcut proves a bit of a red herring; a floaty over-melodic Gobstopper-esque number that swirls you up into a blissful headspace before the sheer, shockout punishment of ‘TM13’. I had to double-check a number of times that I had the right transition flowing from flutter-eski into balls-out techy dubstep but the more I did, the more I loved the brutal, uncompromising switch.


'Emergence #2'


If, at one time, I felt like Spatial might be a guy who over-thinks his music, I have to hold up my hands and say, Matt, I only needed to look at the reasons I use to rationalize why I do the things I do to shake that tangent once and for all. Hearing ‘Tensegrity’ feels as exciting and as complex as when I picked out that first almost-anonymous Spatial 10” in Rooted way back when.



Naked Naked

After deploying it in the perfect spot — to open a recent promotional mix for a London nightclub — the Naked Naked boss Breach has kindly revealed that the guy behind the seesawing, ever-building earworm ‘Expedition’ is FEELS. FEELS is a rather unassuming guy he apparently found lurking somewhere quietly in some forgotten corner online. It comes delivered on the flip of the straight tonking ‘Digadoo’, but 'Expedition' outshines it wholly with a flurry of octaves, shakers and synthesized colours.

Ash Koosha


Ninja Tune

As far as entrance music goes, the Iranian-born, London-based Ash Koosha’s two-and-half-minute opening gambit of circumvented instrumental music, ‘Mudafossil,’ proves to be a pretty damn emphatic one. Released as the first taste of a forthcoming album project on Ninja Tune, it’s got a metric tonne of that weird stuttering, beat-repeat percussion, plenty of cruddy maddened sirens, these oddly beautiful haunting string sections and a palpable sense of ‘Eh? What the fuck is this, man?’.




In such a world of abject insecurity as ours, a simple consistency can be the key to a good guy repeatedly doing great things. And my man’s not doing anything drastically different to anything he’s done before here — in fact, ‘Output’ is exactly the sort of roughly shot groove I’d go to him for. Marching four-four that sounds like it was probably quite quickly sampled and sketched before it got peppered with that weird drunken, stabby lead-line.


'Secret Palace'


Inkke’s six trag swag on LuckyMe does a couple of quite opportune things for him very early on. It sets him up a fair jump away from the current squad of club-focused instrumental producers by lowering the tempo and, way more importantly, it builds on the early promise of his Faded With Da Kittens material with several rugged slices of supersized hip-hop. Allow the Hudson Mo comparisons, I mean they’re apt but Inkke’s less hyper in his colour.


'Vamp EP'

Black Acre

I’ve been quietly hipping people to Sully for a long time after he made standout snappy, garage-swaggered tracks like ‘Toffee Apple’, but after a recent run of junglist pressure the producer’s trying something extra at a similarly increased tempo for this three-track EP on Black Acre. Refracting the overtly stylistic work of someone like Kuedo through his own taut 808 obsession, Sully excels here and with ‘Arco’ he’s bastardized the trap snare roll into something else altogether.



Coyote Records

From the very off, T_A_M’s ‘Watty’ comes across like the hyperactive kid in class: a proper fireball of endless energy, ideas and timbres that keep coming on as much as he might try to stifle them. Bolshy, it’s got the drive of that Northern bassline sound with enough switch-ups, oboe fills, conga patterns and one-note seminars in doom to make it feel and sound like something wholly original that might prove harder to love than it thinks.