

It helps that they draw more explicitly from Whittaker's extensive history as a DJ and producer of club music than they have for a while, with both tracks possessed of a punishing drive reminiscent of his recent solo work as Miles. "Collision" also bears scars of the shredding techno/jungle hybrids he's produced under the name Millie: it sends a barbed-wire helix of breaks corkscrewing through a murky sea of mid-range radio interference and storms of trebly distortion. Halfway through, the percussive fray crashes towards the track's surface, belching out clouds of debris that tear down its sides and further roil up the turbulence below. It's coarse and utterly unrelenting, and it says something of its breakneck intensity that, arriving immediately afterwards, "Misappropriation"—a percussive vortex of banging pots and pans, maraca shakes and noisy, almost voice-like scribbles—still feels like the calm after the storm.
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