Deconstructed UK garage to put your head in a spin.
The result is sort of like that post-swat moment where the fly might be terminally squished or just biding its time, ready to buzz again. It's the skipping beats and snarling bass of UK garage trapped in a twilight zone between being and dissolution. In a landscape pretty saturated with deconstructions of UK dance styles, this release stands out.
Which isn't to say it's easy to listen to. It's hard to imagine what tools Wesley used to break these tracks apart. Their rhythmic grids splinter and blur and grooves multiply prismatically or collapse in on themselves. The mixdowns swirl unevenly, sending elements spinning into foreground and background like objects on a nightmarish mobile. A handful of bolder elements offer a handhold in the avalanche of bleached percussion and digital hiss and roar, but the security they offer is often deceptive. On "Children's Story," for instance, it's volatile spurts of synth strings, and an MC whose "Yeah.. Yeah… yeah!" is soon swept away in the confusion.
On "Stem4bcc" a flatulent bassline lures us into the track's pulverisingly intense midsection. And on "F16" it's pizzicato strings—very Aphex Twin—and chords that glitch and flicker with subtle emotion. "F16" is almost pretty, which makes its near-silent 90-second outro all the more confusing. Turn the volume right up and you can hear chords and wisps of interference lurking down by the noise floor. The ghosts in the machine, maybe, or the last firing nerve endings of a splatted insect.