Coming from a land where bass is the lingua franca, his music is relentlessly confrontational yet simultaneously soul-tinged. The devil is in the details: There is an analogue warmth that characterises all of McBean's work. That, and clever EQing, a restrained use of vocal samples and a distinct space between the sounds. Sure, you've heard these elements plenty of times before. But McBean is a craftsman; when he makes things, they just sound better than anyone else.
"Dark Town Orchestra" has dramatic low-end drops that seem to be inhabiting a haunted chasm, its rolling bass rising and falling along with a soaring retro synth line. Slightly slower and moodier than most of G's output, "Platonic Solid No 5" sounds like the soundtrack to a crack-addled episode of Scooby Doo. "Space-Bassed" has even more lovely bass-heavy drops with a whiny siren going off in the background.
The only track that seems slightly out of place is the big city beats of "Stolen Moments," but it's a fitting conclusion and a glimpse into a parallel universe that will definitely tolerate further exploration. There's a saying in football that the game is a simple one complicated by fools. Apply the same sentiment to house/techno and it's no wonder that McBean is still at the top of his game. Still Here (Get On Down) is primal, tribal house as unproblematic as it comes.