Picking the exceptional releases out of the quagmire is a constant struggle. We’re lodged deep into March now and the label release schedules are still showing little indication of bending to the economy, simply refusing to slow up or back down. Instead they’re choosing to diversify and splinter, hopefully aiming to re-group at a later stage with a focus group of consumers, a detailed questionnaire and some defined goals to shoot for…

London’s dances have been infected of late by the repetitive ruminations of Addison Groove – or Headhunter operating in a more Juke (ghetto house music) influenced manner – and the sure-fire sell-out Swamp81 12” containing the manically brutal and brilliant “Footcrab.” It’s stupid, putrid and overtly dumb, but its bonafide genius at the same time. Vibing off pure 808 kick drums and cowbells, I challenge any producer to come up with a more defining anthem than this using such minimal tools:

David Kennedy, known to the world under his Ramadanman guise returns to the fray on his own Hessle Audio imprint with a vinyl double pack – following astonishingly accomplished releases from Pangaea and the beautifully haunting “The Bells Sketch” from James Blake. It seems like the self-imposed release break has re-invigorated his productive streak; the six tracks flicker from the relentlessly percussive work displayed under his Pearson Sound moniker (another 12” is reported to be dropping under that name shortly too) to a darker more junglist texture captivated on “A Couple More Years” and “Don’t Change For Me.” But it’s the weird stop-starter “Bleeper” that provides the biggest talking point; converging Kennedy’s dancefloor prowess with the experimental melodics of a bleep happy Matmos it bubbles and pulses subtly, working sporadically at the sub low level.

Kennedy also crops up remixing Shortstuff’s latest offering for the blossoming Ramp Recordings label, slowing up some of that classic jungle breakbeat and pushing it to the fore for his refix of “Tripped Up.” The original version of “Tripped Up” whisks into life with synth squeezes and quick succession kick drums before the steel band carnival melody rips it up over a b-more break. Working with the oft elusive Mickey Pearce, Shortstuff further polishes his niche creating both infectious and boldly bassy club heaters, undoubtedly inheriting some of the attention his own labels’ third vinyl released stirred up. I wrote in my review of that very 12”, Blunted Robots 003, for Resident Advisor that Bok Bok’s “Citizens Dub” was born simply to tear up dancefloors, focusing its whole life-force into that incessantly catchy and endlessly impressive bass line; and I’ll stick to it. The flipside “Pipey D” by Shortstuff and his on/off studio partner Brackles proves that the duo are properly harnessing writing music for the club, and on the strength of these two 12”s, long may it continue.

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