TRG – Tower Block review

by Juno Daily on 19.08.2010 at 15:10pm.
Last edited: 09.09.2010 at 11:28am.

Cosmin Nicolae, the Romanian supplier of fine flavours of funky, dubstep and experimental house, has an impressive track record and diamond studded production history. With a slew of releases on such renowned labels as Tempa, Hessle Audio, Hotflush, Naked Lunch, Soul Motive and more, “Tower Block” marks his debut 12” on Untold’s Hemlock Recordings.

A patter of clip clop beats and hissing percussion, interspersed with the subtlest of cheeky blimps, kicks things off on the A Side. Crackling, white noise type shuffles and a warping, hiccupping rhythm lead into a chirruping number, rebounding with curious idiosyncratic energy. Low-end flurries of bass compliment the delicious melody in the most alluring of ways – a disconcerting, dark room vibe, exacerbated by a palette of sounds which bounce around the soundscape like rogue elements.

On the flipside, “Breton Brut” sees TRG tuning into more bizarre experimentalism, utilising a strange combing rhythm, a similar booming bass to that of “Tower Block”. Sweeping SFX, like nocturnal creatures whistling, shuffling and whispering between each other plague the track. The track builds gradually, layer upon layer, yet never quite settles. There is a pervasive sense of anticipation and impending doom as the drums change their pace and style around the half way mark to a more frantic tribal, out of breath sound, pacing over the top in the lengthy six minute venture.

Belinda Rowse

Kidkut – ILove04 review

by Juno Daily on 16.08.2010 at 12:01pm.
Last edited: 09.09.2010 at 11:35am.

Adam Jackson, known in dubstep circles as Kidkut, makes his long-awaited debut on Appleblim’s acclaimed Apple Pips imprint. The owner of Bristol-based label Immerse Recordings (which released early Benga as well as some more experimental stuff from TRG and Sigha) and erstwhile companion of the West Country dubstep massive, Kidkut has come up with a couple of excellent tracks, which would not be amiss in an aficionado’s record collection alongside the likes of Appleblim, Peverelist, Joe, and perhaps even Guido.

Now before we begin, yes, “ILove04” sounds like it could be the kind of thing you get emblazoned on a t-shirt, or an article you might read in Mixmag, but no, it goes much deeper than that. A tourist from dubstep’s past would no doubt go all misty eyed at the memory of 2004, but Kidkut ironically harks back to a previous time with sampled snippets, a brisk clip-clop rhythm and jolting chiming instrumental stabs. Gently shuffling, with soaring synthetics in the background, the occasional womp of sub bass is a reminder that this is no byproduct of the Joy Orbison generation, but a bonafide riddim from someone who’s been big in the game since its inception in the early noughties. Flipping over for “Lilt”, Kidkut tunes into a more melodic vibe, with a skipping breakbeat tempo, thudding breaks and an exotic medley of FX. Chirrups, bleeps, tribal patterns, quirky blimps and whinnying whistles punctuate the soundscape, making for a deliciously fragrant cut all round. Lovely.

Belinda Rowse

Juno Podcast: Dubstep 28

by Juno Daily on 11.08.2010 at 12:40pm.
Last edited: 18.08.2011 at 15:45pm.

Some killer cuts feature in this week’s dubstep podcast, with brand new material on a host of great labels including Apple Pips and Deep Medi.

Skream – Outside The Box review

by Juno Daily on 10.08.2010 at 12:23pm.
Last edited: 10.08.2010 at 12:24pm.

The arrival of Skream’s second full-length album comes at a time when his dubstep supergroup Magnetic Man (which consists of Skream alongside Benga and Artwork) has successfully infiltrated the UK Top 10, bringing dubstep well and truly above ground. And what the Croydon-born producer (real name Oliver Jones) attempts on Outside The Box is an album that sits in the greyest of grey areas: between appeasing a loyal underground following and refining a sound for a wider market. No easy task, then, but it’s one that is tackled with aplomb.

There’s just one serious bass tearout of note (“Wibbler”), which sits next to more delicate moments like “Where You Should Be” and “I Love The Way”. Elsewhere you’ll find the impressively sparse and sinister “Fields Of Emotion”, while “Reflections”, a hookup with highly touted drum and bass producers dBridge & Instra:mental, is one of the album’s strongest moments musically.

“How Real” featuring Freckles on vocal duties has definite crossover potential, a bit like Joy Orbison but with more discernable vox, but it’s the hookup with La Roux (a neat follow up to Skream’s ubiquitous remix of “In For The Kill”) that will be most likely to bother the charts. All of this combines to form an affecting, ambitious and downright fascinating album that shows Skream is a force to be reckoned with – above and below ground.

Aaron Coultate

Quest – Quest EP review

by Juno Daily on 09.08.2010 at 16:29pm.
Last edited: 09.08.2010 at 16:29pm.

Headed up by the ineffable Mala, Deep Medi Musik has a rich and illustrious history as one of the leaders of the dubstep contingent. Since starting out in 2006, the label has seen releases from the likes of Kromestar, Loefah, Coki, Silkie, Skream and Calibre. In 2008, London based producer Quest joined the crew with his debut 12” on the imprint, “The Seafront/Deep Inside”, followed by “Stand/Eden”, “Last Days/The Unknown” and his most recent release, “Smooth Skin/Wind Tunnel”. Bringing a fresh of breath air to the scene with his jazzy, Detroit-influenced sound, sci-fi samples and slouchy sub-bass, he has carved out an impressive name for himself and continues to do so with this self-titled EP – a glorious culmination of his work and musical achievements to date.

Beginning the journey with “Deep Inside”, Quest pairs a glowering, turbo-charged bassline sits with beautifully enunciated clip clop beats, delicate piano keys and nocturnal rhythms. Depth, soulfulness and innate musicality are its core, with a calming and hypnotic mystique accentuated by a sprinkling of fairy dust synths, melancholic strings and snippets of eerie late night/early morning birdsong.

The snap, crackle and pop intro of “Eden”, with its series of ricocheting gun shot beats soon gives way to more harmonious, bliss, replete with warm rolling subs, rather reminiscent of early Skream, circa self-titled album, in a kind of “Dutch Flowerz” way. A military drum pattern and a warning that “the world is under attack” herald a movement towards a tougher, more alert outing in “Last Dayz”. Despite the slightly sinister edge, the track still shines with that enticing aurora which seems to consistently accompany Quest’s productions.

Continuing where “Last Dayz” left off, the “The Unknown” incorporates stabbing synths to create a sense of urgency. Some fiddly bleep patterns take over before a smoky, jazz flavoured breakdown with exotic atmospherics and a touch of the Joker sound. Concluding with the more stripped back, brooding number, “Stand”, with its prophetic “Waking Life”-esque edge, distilled beats, mournful strings and tribal percussion, Quest proves he’s where it’s at when it comes to contemporary dubstep. A superb EP.

Belinda Rowse

Aquadrop – Aurora Borealis review

by Juno Daily on 06.08.2010 at 11:45am.
Last edited: 06.08.2010 at 11:45am.

Italian producer Aron Airaghi already has a number of releases under his belt since he dropped the first part of his Aquadrop EP on Eight: FX late last year. Subsequent releases on Trenchant Dubs and Abstract Logic throughout the first half of 2010 have allowed him to form his own distinctive take on the two-step/dubstep sound. Having gained the attention of Starkey, El-B, B Rich, Doctor P and more, Aquadrop is someone we’ll undoubtedly be hearing a lot more about in the future. Hot on the heels of his June release on Trenchant Dubs, is his debut artist album, Aurora Borealis, released on the label upon which he initially cut his teeth.

The title is an apt reflection of what this debut holds. “Theme From An Abstract Cinematic Love Scene” sounds like a modern day Keats poem and is dominated by coloured swathes of sound, fading in and out in shimmering waves of synthetics, atmospherics and SFX.

After this abstract entrée, though, “I Put A Bell On You” comes with a degree of surprise; slurping, gurgling squiggles are supplemented with squelchy bass. Keeping things varied, “Champion Dub” adds a soulful touch to the proceedings. Other notable moments include the rough percussive “Hyper” with reverberating vocals, rather like James Blake’s “CMYK” but more subdued, and album’s title track, which incorporates ‘90s computer game-style bleeps over some more blissed out, romantic harmonies and rattles in the textured soundscape. The final track, “China Girl”, could almost be a track from Guido, Ramadanman or Dark Sky with its woozy, synth-soaked, melodic vibe, dominated by instrumentals and crisply articulated breaks. Opening up a world of possibilities, Aquadrop stands at the edge of the earths axis, looking out over many dimensions of the 140bpm genre which are explored in the Aurora Borealis.

Belinda Rowse

Modeselektor/Moderat – 50 Weapons of Choice 2-9 release

by Juno Daily on 02.08.2010 at 10:09am.
Last edited: 02.08.2010 at 19:06pm.

Something unexpected, rare and highly classy from the Berlin based technoid juggernaut that is Modeselektor. In 2006, a little known bootleg emerged featuring the vocals from 50 Cent’s “Just A Little Bit”, released under the name “50 Weapons”, which subsequently got linked back to the ‘Selektor boys. With the dust having settled, they’ve just dropped a whole new installment of the series, featuring Siriusmo, Roska and Housemeister amongst others. The plan with this self-titled label is to go the distance and release 50 weapons and then stop. If they’re anything like these gems, they’re going to become very hot property.

Remixing unreleased Modeselektor and Moderat material this time around, the assembled crew live up to their awesome reputations. Siriusmo’s mix of “Untitled” is a heavy glitch-step with some incredible double-time breakdowns, while Phon O’s “Art & Cash” is just hands down stunning – a truly breathtaking mix of Baltimore drums, tribal drums and galloping Berlin synths that may well become the favourite with DJ’s from this collection. Headhunter and Shackleton keep things fairly minimal on their mixes – the former making “A New Error” into an icy dub-dream rhythm, while the latter’s “Rusty Nails” goes even heavier on the frosty atmospherics for a full-on 6am vibe. SBTRKT does wonders with “Art & Cash”, supplying upfront beats and roughed-up chords for a heart-wrenching builder, while Housemeister goes full on glitch-techno for his mix of “Untitled”. Roska rounds the set off in the only way he knows how – deep basslines and a slew of perfectly arranged handdrums – on his take on “Art & Cash”. It’s a genre hopping collection, but there’s absolutely no faulting the quality of any of these prize nuggets. All we can say is – use these weapons wisely.

Review: Oliver Keens

Peverelist – Better Ways of Living review

by Juno Daily on 26.07.2010 at 10:55am.
Last edited: 26.07.2010 at 10:55am.

Rooted Records manager, Punch Drunk boss and key player in Bristol’s dubstep heritage, Tom Ford makes his voice heard once again amongst the hubbub of sounds emanating from the cultural pinnacle of the South West. His last release was his debut album Jarvik Mindstate, which gained virtually unanimous support from across the board.

Carefully considered, well paced and (unsurprisingly) impeccably executed, Peverelist’s “Better Ways Of Living” begins smoothly, with finely graduated, filmy layers build on filmy layers, connected by hissing percussion and slow, drawn out sliding SFX. Rolling bass, fidgity Scuba-like beats and warm instrumental chirrups and stabs throb and continue to build to a climax as we near the end of the tune. In fact, the track certainly bears comparison to Ramadanman and the Hessle Audio camp, in all its shuffling, melodic glory, though, of course, this is Peverelist’s signature sound to the core. Offering a new perspective, a new way of listening, the message in the title is most certainly honoured here.

The curiously entitled, “Fighting Without Fighting”, on the flip, retains that trademark techno-infused-dubstep essence, fused with melodic loveliness, though is an altogether moodier venture. Hypnotic rhythms, a morphing b-line and pummelling kicks drive the main body of the tune along. Cavorting and darting round the sonic boxing ring with an almost tribal pattern at times, Peverelist manages to hit home with a mildness and notable integrity to his swing. Very much the sound of now, with echoes of the before and after, this is a stunning 12” and a must have for the connoisseurs. Belinda Rowse

Juno Podcast: Dubstep 27

by Juno Daily on 23.07.2010 at 17:28pm.
Last edited: 18.08.2011 at 15:43pm.

There are plenty of highlights in the 27th Juno dubstep podcast, but it’s the new Peverelist cut, released on the Bristol producer’s own Punch Drunk imprint, that takes the cake for us this week.

Mary Anne Hobbs calls it quits

by Juno Daily on 23.07.2010 at 14:44pm.
Last edited: 26.07.2010 at 10:43am.

Revered radio host Mary Anne Hobbs has announced her resignation from the BBC after a stellar 14 year career.

Kode9 – You Don’t Wash review

by Juno Daily on 22.07.2010 at 18:02pm.
Last edited: 22.07.2010 at 18:02pm.

Hot on the heels of his DJ-Kicks compilation, which was released last month on !K7 Records, Hyperdub boss Steve Goodman (aka Kode9) takes one of the exclusively made tracks from the aforementioned album and teams up with long-term collaborator Spaceape to give it a bit of a vocal touch up and a new breath of life for the darker, more intelligent side of the dancefloor.

The quaint, hypnotic cowbell tinkling and richly blended intro of “You Don’t Wash” sits well with the husky, murmuring, slightly MC Kemo-esque lyrics courtesy of Spaceape. The ghost of Kode9’s jungle past creeps in from time to time, keeping things vibrant throughout the silky smooth, rippling flow of the track. Echoing prophetically into the emerging tune with a perfectly placed series of siren bleeps, blowing horns and funky SFX, the words become just as much a part of the melody as the soca riddims and future garage synthy haze (a sort of inadvertent nod to Joker-crossed with-Joy Orbsion’s “Hyph Mngo”). They are merged into the fabric of the music with a shimmering translucence, rather like a finely crafted watercolour painting. Spaceape’s lyrical contribution does not revolutionise the track particularly, or change it beyond recognition, but instead serves to enhance what is already there, and as a result, “You Don’t Wash” resonates deep into the musical consciousness long after it has finished playing. Belinda Rowse

Full Commix remix album details

by Juno Daily on 22.07.2010 at 11:06am.
Last edited: 06.09.2010 at 15:08pm.

As Juno Plus revealed back in May, Cambridge duo Commix will release a remix album of their debut LP Call to Mind, featuring heavyweights from the world of dubstep and techno.

Dubstep icons feature in exhibition

by Juno Daily on 19.07.2010 at 11:17am.
Last edited: 19.07.2010 at 13:06pm.

Mala, Skream, Coki, Benga, Silkie and Joker are among the artists featured in an exhibition of photographs and artwork by Agent 57, which takes place in London this week.

Various – Multiverse 2004-2009 review

by Juno Daily on 15.07.2010 at 14:46pm.
Last edited: 15.07.2010 at 14:46pm.

An expansive and highly influential musical anthology of UK bass music from Bristol based studio and production company, Multiverse Music, as they explore the sonic spectrum between 2004-9 and bring us this comprehensive compilation on the Tectonic imprint. Steeped in dubstep’s past, present and future, Multiverse has given rise to some of the scene’s biggest names (think Bristol bods Joker, Pinch, Guido, Gemmy, Ginz et al) as well as acting as the parent company to a number of key labels in the dubstep-cum-grime-cum-experimental techno scene, including Kapsize, Tectonic, Ear Wax, Caravan and Sub Text.

The compilation kicks off with bold and sagacious intent, flitting from Vex’d’s 2004 classic, the dark, gritty, industrial-sounding “Lion”, and referencing the sounds of Bristol’s early and flourishing dubstep scene, with tracks from way back in 2005 – take Skream & Loefah’s “28 Grams” and Pinch & P Dutty’s debut release on Tectonic “War Dub”, for example. SNO’s siren-touting “Disturbance” provides some respite, with gorgeously rounded beats and jungle flavours, before Skream’s 2006 synth-led, rolling release, “Bahl Fwd” tunes in to a more tripped out, contemplative vibe. Joker gets a good look in with his early grime-y, instrumental piece, “Stuck In The System” (2007), his collab with Ginz, the gloriously aubergine soaked sounds of ubiquitous 2009 Kapsize anthem, “Purple City” and finally “Psychedelic Runway”, which crops up towards the end.

Keeping things varied, The Body Snatchers add in the Benga-style laddish humour with “Big Ass, Mini Skirt”, before a sharp change as an upbeat vocal-led cut from ’09, Pinch’s “Get Up” featuring Yolanda gets the remix treatment from RSD. Then we have the bounce of Baobinga & ID’s “Tongue Riddim”, via Vex’d’s pared down “Pop Pop”, Loefah’s “System” and October’s tropical techno/dubstep crossover “Three Drops” – a stunning track. The flavours keep a-changing, as we approach the end of the album, finishing up with the murmuring, subterranean growling of Emptyset’s “Demiean”. Once again showing the immense versatility of the preconceived, oft wrongly pigeon holed ‘dubstep’ genre, the Multiverse 2004-2009 compilation is one to hold and to cherish for years to come.

Review: Belinda Rowse

George FitzGerald – The Let Down review

by Juno Daily on 14.07.2010 at 09:41am.
Last edited: 14.07.2010 at 09:41am.

One part of the force behind East London party starters, Man Make Music, George FitzGerald (yes that’s a capital G in there), brings us a fantastic offering on Scuba’s Hotflush Two imprint. Moving swiftly on from “Don’t Stay”, his debut release on Joy Orbison’s Doldrums label earlier this year, FitzGerald finds himself increasingly on the territory laid out by his forefathers – Orbison included – a swirling expanse where garage, dubstep and a whole other range of hints and tones converge to form a blur of blissed out electronic beauty.

That’s not to say that FitzGerald is just a Joy Orb copycat. He’s not. He is, however, hotly tipped for 2010, and it’s no wonder why. “The Let Down” is a delicious, delicately structured piece, with slowly building vocal sampling blended into light, percussive beats and chiming keys, falling gently into a more ambient piece of gorgeously flowing, rhythmic beats, tripping breaks and rippling harmonies. Continuing in a similar vein for the flipside, “Weakness”, FitzG opens with a softly fuzzing intro, replete with shimmering synths and UK garage vibes in plentiful, yet understated existence. Executed with the prowess of a fully-fledged member of the Hotflush contingent, George FitzGerald lives up to all the hype here. And long may he prosper.

Review: Belinda Rowse

Dark Sky – Frames EP review

by Juno Daily on 12.07.2010 at 09:47am.
Last edited: 12.07.2010 at 10:05am.

A cool, calm and deeply contemplative release from the London based production trio, Dark Sky. Following on from their previous release, Something To Lose, the EP marks another notable landmark on the constantly morphing and elusive post-dubstep landscape.

Music made to the move the mind, body and soul, “Drowned City” opens with warm, future garage-esque synths and instrumental sounds, eventually falling into a deftly placed beat, with lashings of James Blake (circa his remix of Mount Kimbie’s “Maybes” minus the vocal) in there. The track moves along like a gently wafting breeze, never too troubled, or hindered in its path. “Fly”, up next, continues in a similar vein with soft breathy vocals, rather like a D Bridge & Instra:mental track, minimal, deep and deadly effective, the soundscape a mixture of punctures, bleeps, stabs and twitches, led by the female vocal sample, twisting and changing course, perhaps even a little Scuba-esqe at times. Moving forwards with “Night Light”, its gentle glimmering atmospherics for the first forty seconds lead into a surprisingly heavy, tumultuous drop, with booming subs and a jingling, bell-shaking riff adding to the upbeat, energetic lilting rhythm. Concluding with “Reflex”, Dark Sky take it back down to earth, with an intro dominated by scraping comb-like sounds and a menacing metallic thump, rather like June Miller’s “Brussel North”, in fact.

Murging sounds, rhythms, tempos and textures from across the sonic spectrum, this is an interesting and enticing EP from the tripartite collective. How it will fair against the likes of Mount Kimbie, James Blake, George Fitzgerald et al, remains to be seen. Our advice? Watch this space.

Review: Belinda Rowse

Al Tourettes & Appleblim – Lipsmacker EP review

by Juno Daily on 09.07.2010 at 16:46pm.
Last edited: 09.07.2010 at 17:21pm.

As long-standing friends from the days when Bristol was a city in musical transition, it was probably inevitable that Lawrie Appleblim and Al Tourettes would join forces at some point. That they have now is, perhaps, less predictable – though the results are pleasing. As you’d expect, this collaborative EP – featuring two originals and a pair of fine remixes – fuses elements garage, techno, dubstep and glitchy electronica, and there’s even a sly nod to UK funky amongst the beats.

Lead cut “Lipsmacker” most clearly shows the benefits of this Bristolian meeting of minds, most comfortably blending the two producers’ individual styles. On one hand, there’s Appleblim’s smoky atmospherics and ear for a bassbin-bothering groove. On the other, there’s Al Tourettes’ love of glitchy electronica, alien melodies and intense vocal cut-ups. What emerges out of this fusion is a claustrophobic tech-garage groove tightly wrapped in a blanket of unnerving late night paranoia. “Mr Swishy” continues the darkroom flavour, peppering a snare-heavy steppas beat with darting electronics, swirling chords and a bubbling bassline. It’s good, but pales in comparison to the A – not to mention the excellent flipside remixes.

Deadboy leads the way with a rolling 2-step take on “Lipsmacker” that plays down the original’s darker elements in favour of something halfway between the intense futurisms of early Maddslinky and the eyes-wide-shut blissfulness of Joy Orbison. A strong package is rounded off by a sublime Linkwood rework of “Mr Swishy” – all yearning trumpets, slick Rhodes chords and intergalactic melodies. With its air of stargazing beauty and luscious deep house groove, it’s the EPs stand-out moment. Perhaps Lawrie and Al should get together more often. Certainly, this EP shows definite promise.

Review: Matt Anniss

Brokenchord – Bluestar EP review

by Juno Daily on 08.07.2010 at 11:15am.
Last edited: 08.07.2010 at 11:15am.

A fellow traveller alongside the likes of Dark Sky, Rustie, Vaccine, Fantastic Mr Fox and Blue Daisy, 18-year old Lithuanian producer, Brokenchord has been pushing some serious buttons with his unique blend of dubstep, hip-hop, funky and garage with a light dusting of R&B sprinkled over the top. It will come as no surprise, then, that there is a place for the young producer over at Black Acre Records. The Bluestar EP, in essence, is somewhat of a mongrel in musical terms; robust yet disjointed, melodic yet melancholy, it incorporates a myriad of references, hovering around genres, but not staying still for too long. But, much like the rest of the output from the Black Acre camp, it works. Curiouser and curiouser…

“Bluestar”, the title track of the EP, kicks off with hollow, coconut clapping beats, a throbbing b-line and haunting synths swooshing back and forth like waves on a distant shore. Wailing vocals blend in to the atmospherics, in a haze of watercolour bliss – a little nod to Guido perhaps. “With Tsunami”, in stark contrast, gets started with a build up of shuffling, ADHD-befuddled rhythms ringing with energy and irritable impatience. It’s a brilliant piece – very unique and unusual. Next up, is the dark soldier of the EP, “Lowe”, with its morphing, murky tones and thunderous, rippling bass. Undulating with vociferous fury against the encroaching background noise, the impending breakdown leads us into a lighter, airier section, with synths bouncing off one another like rays of light. Absolutely superb, and very poignant too, as the next track is entitled “Run In To The Light” – an altogether more ambient cut, with a radiating warm hum underpinning the various sonic bleeps, clips and taps which punctuate it like a well constructed sentence before it moves in to a moodier finale.

Review: Belinda Rowse

Video: Magnetic Man – “I Need Air”

by Juno Daily on 07.07.2010 at 10:44am.
Last edited: 07.07.2010 at 13:38pm.

After some deliberation and more than a little teasing, Magnetic Man have unveiled a full video for their debut single “I Need Air”.

Oriol – Coconut Coast review

by Juno Plus on 06.07.2010 at 11:14am.
Last edited: 06.07.2010 at 11:14am.

The Cambridge to London-via-Barcelona producer takes two tracks from his forthcoming critically acclaimed album ‘Night & Day’ (due out 19th July) and gets Falty DL, Planet Mu head honcho Jake Slazenger, and garage/funk/2-stepper, Shortstuff in on the remix/refix treatment to whet the appetite and add a little je ne sais quois to the proceedings.

The exotically evocative “Coconut Coast” appears as the opener to the EP, in all its humming, singing, chiming and cooing glory; it’s a textured and experimental venture, showing Oriol Singhji’s evident prowess as a producer. With his impressive and wide-ranging spectrum of musical influences – from Detroit techno through electronica to house and even further afield to D&B and dubstep, the new Planet Mu signing should definitely be on the radar for discerning music fans from across the board. Falty DL then teases “Coconut Coast” into an altogether different shape; his interpretation is more tense, with a greater emphasis on the hazy vocal element and pared down rhythms.

“Memories” – another teaser from ‘Night & Day’ – is up next. Transformed into a simmering slice of rumbling bliss with overtones of UK funky by Jake Slazenger, the shuddering b-line and shimmering, glass-y tones add a certain poignancy to the mix. Shortstuff’s focus, on the other hand, is on the pervasive drone, the clapping beats and high pitched, distorted vocals which create a frantic ecstasy to the clink-beep 2 step tones which predominate throughout. A great way to round the EP off.

Review: Belinda Rowse