‘8’ which closes the first side is beatless and somewhat incidental. The trilling echoes and engine-throb bass hark back to the retro outer space synths of his earlier singles, but it does not add much to the EP. The first side is something of an experiment then, but the most typical Redshape, and the best track, is saved for last.
The dub version of ‘Plonk’ on the second side actually seems less the dub version than the original, being more clearly produced as if by someone drugged and delirious rather than drunk. The repetition of the synths is purely hypnotic and immense enough to carve out enough territory for the rest of the sound to flood into. Overall, there is a ton of weight in the bass and a driving 4/4 to this that begs for a good sound system.
This release is fairly out on a limb for Redshape, but absolutely killer nonetheless.