Y'know how Miles Davis used to lean on his keyboards and make a fantastic racket? That's the needling sound that threads itself like barbed wire throughout this spacious, spooked production from Oddissee and yr damn right he knows EXACTLY what he's doing. Great rhymes from the Diamond District trio make this way more than just a Brucie Bonus, more like a boon from the depths of hell and the heights of heaven. Love the way towards the end it all drops down to pure piano and dread. Love the way it feels like it WILL NOT STOP unhinging you. Super stoopid fresh.
Haunting and techy with hard hitting, steppy, rolling beat. It's got Dispatch stamped all over it. Starting it's life as twinkling, somber intro with a solitary feel, a loud cargo train shuttles by dropping of some of it's glitchy, blobby load before the track bursts with an understated drop leaving us with the full effect of the raging head nodder. This track is fierce, frantic and frenzied without feeling to violent and threatening.
Pachanga Boy, Rebolledo, takes a break from writing with Superpitcher for a whimsical collaboration with Munk. As the title hints, expect a tongue-in- cheek combination of disorienting surf rock and weighty disco rhythm, steeped in a showering of sleaze. A touch of acid-disco creeps in with the lively bonus track, 'Got It Baby', but it's the controlled chaos of Rebolledo's wild, wigged-out giddy dub version of the title tune that steals the show.
Fresher floorfiller bass, best used for a string of clubs named after a pair of big jungle cats or huge aquatic regions. In saying that, the bassline is thumping, but the synths used are just too hands-in-the-air.