Reviews & Articles

The momentum of the bubbly riff is countered only by the steppy African beats and occasional sweep to mark time.

The brutal stop-time acieed of “Jugg” by Skee Mask, sets the tone for this EP. Bass as percussion, Percussion as bass.

The simple elements that can make a great dance tune – scratchy samples hook you, driving bass propels you forward, and a great beat with subtle variation keeps you dancing.

It’s a delightfully breathless six minutes of pure pressure.

Claustrophobic and urgent, banshees chant over frenetic drums, while tension-filled drones build hover overhead before crashing over your head in waves of sub and siren.

Most of these tunes are bangers, not anthems, the kind that the best DJs use to set a mood, make people get low, and go home with smiles.

So many tiny, fractal-like details form patterns, blend together, and become one, whole natural experience.

The vocals leap and slice around the room, chased by truly banging drums. Each section lulls you forward, while police sirens chase you throw the crowd dancing in the street.

Exploring garage, kuduro, UK funky, Squarepusher jungle, itchy IDM, and shimmering, disorienting ambient… It’s an extremely thick 43 minutes of music but a rewarding listen, end to end.

The warning sirens and deep toms keep pace perfectly with the rugged vocals of Killa P. So good.

Sparse yet complex, it hits hard and takes no prisoners.

Each track might paint the same open field, just at different times of the day. And each painting is beautiful and deserves study.