The forward-thinking record label Hyperdub has always put out quality releases time and time again, specifically when it comes to releasing full-length albums. With successful and memorable releases provided by Burial, Kode 9 + The Spaceape and King Midas Sound, the time had come to garner another collection of cohesive audible bits that would form to be the next step in Hyperdub’s album history. Enter Ikonika, a producer putting out releases on the label since 2008 (12″s such as Please/Simalcrum and Millie/Direct) and garnered a steady stream of praise for her style of spinning and selection. With rumors of her release starting in early 2009, many were eager and wondering what would come of it. The question that many had raised was: “Would this be a club record or a personal record?” The answer to that question is left to the eye of the beholder, but what is achieved sonically on this record is nothing short of introspective, atmospheric and an all-out good time.

Starting off with “Ikonoklast,” a mini-homage to Martyn’s opening track on his iconic debut Great Lengths, Ikonika lets her listeners know they’re about to listen to her signature sounds; from Sega-inspired chord progressions and RnB keystrokes to snake-charming synths, it’s the perfect appetizer for what’s to come. The fun kicks in right when the following track (and current single) “Idiot” drops. With strong-but-steady kicks, chopped snares and a synth line that’s stuck in your head for ages, the song turns into a full-on speed-funky frenzy and is an immediate dancefloor jump-off tune. Going between half-step breaks and full-on percussive perfection, it’s an unforgettable start to an already rich experience. The following track, “Yoshimitzu” is a sneaky nightdrive  delving into snaps, kicks and brilliant synth layering that leads to an aura of mystery. Enter “Fish,” a tune off Ikonika’s previous Hyperdub 12″ that was sure to be album material. With a drum pattern that’s always alert, it leads to a synth line that takes you to a journey of defiant sonic argument, going between stable melodic lines and percussive domination on the reverse. “They Are All Losing The War” follows up with the most steady bass and synth line with a vibe similar to that of The League Unlimited Orchestra in some weird, synthroscopic way. “R.e.s.o.l” is a back-and-forth exchange between bass that lingers amongst the canvas provided by near-Zomby-esque notation, with a synthesized howl and/or groan in the midst bring the track to a full circle from start to finish.

Upcoming tracks “Mille” and “Sahara Michael” are undeniable highlights (as well as previous singles), with the former catching the previous tones of dubstep’s earliest mutations in 2008 and the latter providing the progressive results of what 2009 brought. “Continue?” is probably the most laid-back tune on the record, providing a necessary breath in the journey of a potential Streets Of Rage marathon. The following tune, “Heston” is undeniably enchanting with a melody that travels carefully along the steps provided by rhythms moving at their own pace. However, it’s with the following three tracks that Ikonika steps up with the percussive nature of the record and hits a new high: “Psoriasis,” “Video Delays” and “Look” all have a tone of absolute dancefloor mayhem with a hint of Twilight Zone atmosphere, which is a welcome staple Ikonika has provided in this record. The album closer,  “Red Marker Pens,” is one of the best tracks on the record as it captures a feeling in its rhythm that goes between engaging, empowering and endearing. It’s the perfect way to close off a collection of tracks that make an unmistakeably individual record. While the tracks could sound rough, it’s meant to be listened to in a way where perfection should never be the expectation. Instead, what listeners should expect from Contact, Love, Want, Have is a narrative that travels in an audible world of mystery, glitch, and memories of the 8-bit era in between beats that will stay in minds for years to come. .

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