As usual, Harrington's influences aren't concealed. "Ryujin" was "inspired by a '10 years of Dubstep' set Loefah played last year," and it processes that influence directly. The execution is brilliant: dubstep's double-time shuffle is favoured over the halftime head-nod, as Harrington weaves dense lattices of claps and congas, hi-end details and dive-bombing bass. Melody is kept to a minimum, though plasticky pads offer development in the track's second half.
"Telegraph Hill" is equally restrained. Its main hook isn't a tune so much as a series of smacking-lip sounds, sprayed in semi-melodic shapes over a beat made out of pots, pans and finger-clicks. These are trademark G3 sounds, and they make the music sound disarmingly cute. Listen harder, though, and it's a banger: an unplaceable 119-BPM rhythm track reminiscent of Swamp 81 when the label still had everything to play for. In other words, another overlooked moment in UK club music's recent history.