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Singles - House - Issue 579

Peggy Gou

Once EP

Ninja Tune

The increasingly inimitable Peggy Gou celebrates signing on the line with Ninja Tune with a truly blazing EP. Entering the vocal booth for the first time too, 'It Makes You Forget (Itgehane)' is a subtle masterstroke, heavy with skittering 909 drums, Heard-esque marimbas and drenched in blossoming Balearic vibes. 'Hundres Times' roughs things up, with rasping electric pianos and a driving groove, while 'Han Jan' busts up the beats, a slab of dreamy, sumptuous electro with dub house sensibilities. Totally essential.




It didn’t take me THAT long to work out that to fill my word count for this review I could’ve just written ‘full support’ 40 times over, because the sentiment of what I’m saying would be exactly the same. The Mag’s drums are still hella chunky, his hooks are still super different to everyone else’s, and he’s got a tune on here with Gatto Fritto who once described Maghreban music as “carboot funk and soul”. Full support. Full support. Full.

Moony & Movement

'Last Night'


Furrowing deep into the world of the freshly Moschino clad resurgence of the already kind-of-resurgent UKG scene, Brighton’s Southpoint label has enlisted producers Moony and Movement for their fourth release. Their collaboration ‘Last Night’ brims with a little bit of everything that makes garage a unique thing: there’s an infectious skippy beat, suitably warped vocal tics, slyly layered pianos and a sub low bass breakdown. When it’s done like this, it’s hard to hate on.

The Cyclist


Tape Throb

As a long confirmed fan of general distress and the way tape saturation makes a thing sound, I’d be remiss if I didn't drone on about how his command of both makes The Cyclist’s four-four music stand out from the pack. Some people would likely lean on that now-iconic cassette tape fug and make it the main feature of their music, but this guy… this guy would rather loop a Sting vocal and play dreamy pianos over the top of it.

Wild Kid

'Scream Tape'


There are times throughout the impeccable sound design of Wild Kid’s 'Scream Tape' where he sounds a bit like cLOUDDEAD. I spent a lot of my early twenties seeking out things that sounded a bit like cLOUDDEAD. Essentially, 'Scream Tape' is a torrent of hundreds of tortured ideas, all spliced together, so it’ll veer from hyper bit-crushed, thudding drums to weightless instrumentation without a moment’s notice. But it’s a damn beautiful vision. Like when Kuedo emerged fully formed out of the fug of Jamie Vex’d.

Up High Collective



Technically this is an album cut taken from an LP called 'Solitude', which I’m writing about here so that I can shoehorn a bit of shine onto the output of these Belgian dudes who call themselves the Up High Collective. In terms of the actual track: I picked this one at random (because I’m all about challenging myself), but it’s a great summation of the brooding, ‘everything is fucked’ ideology I get from their sound palette. The drops bang too.


'Special Offer/Kushty'


I know I’ve written before about how Beneath is the perfect distillation of some of the things I loved the hardest about a certain period in dubstep, but what I find myself most appreciating as I listen to the lad’s latest 12” on Mistry is the cacophonous sense of dread. Maybe it’s just the result of the media funnelling the Brexit implosion in every one of my goddamn holes at every possible integer, but there’s something so pure about how tense these cuts sound.

Lord Pusswhip

'The Hand Of Glory'


Somewhere in there, behind the bravado, there’s got to be a real level of self deprecation involved in calling yourself Lord Pusswhip. Right? Apparently a bit of a whizz on the boards for a lot of his home country’s rappers, the Icelandic Pusswhip veers heavy into ‘should-buy-oddball-techno-nugget’ territory with the last track ‘CHOPPA HARD’, which is a real thumper.

JD. Reid

'XXL feat Fatima'

Baby Gravy

One of the standout cuts from Reid’s forthcoming 15-track mixtape, ‘XXL’ is the perfect case study to illustrate a few things about the way he works because, well... he’s pretty hood in his drum work, but at the same time he’s more than aware of counterpoint, and the fact that Fatima’s whole vocal chops lie in the minutiae of her delivery. So he backs off, content to just make the bits that he does do bang hard. ‘Hum feat 808ink' knocks too.