But like a cartoon character crashing through a wall, Copeland leaves his own unmistakeable imprint throughout. The rhythms might be recognisably house or hip-hop, but Copeland pulls and squeezes their structures like accordions. "Rozki"'s backpedalling techno beat turns into what sounds like a wild hoedown. "Tinkerbell," meanwhile, stumbles drunkenly along on a slurred and greasy bassline before throwing a fit of manic breakbeats reminiscent of Wagon Christ. These early tracks all feel like about 20 different tunes bound together with elastic bands—and the production is fittingly replete with rubbery clicks and snaps.
After that, though, Joke In The Hole almost seems to fall apart. The opening tracks are all longer than four minutes, but most of the rest are bitesize chunks. "Bobby Strong" is basically just a filtered house loop that feels like it's been cut out the middle of another record. "Kash Donation" and "A Little Tit" are half-formed filler. In the great pop art tradition of his hometown, Copeland is an accomplished collage artist adept at combining the highbrow and the trashy, but when the individual bits are laid out on their own they can seem a bit throwaway.