Deftly programmed conga tracks, wraithlike atmospherics and smooth, smoky subbass undercurrents. All his trademarks are there. Whereas a lot of his tracks more or less centralise the hip-snaking conga rhythms, though, "Fireworks" wraps them in reverb and submerges them, flickers of flame at the end of a long, dark corridor. "Everyone starts from point one" is the mantra on "Undeadman," one which some may recognise from the aforementioned "Deadman". Whatever the hell that means, the outlook's pretty bleak.
T++ takes a tack reminiscent of Autechre circa Confield and makes it adhere to a constant tempo. Stuttering, lurching greyscale rhythms are created from delay, but rather than (what you might initially see as) random chaos, they are in fact precisely placed in the sub-subdivisions between the notes. Mordant Music start out with pure liquid bliss, then descend into the depths of hell, then find some kind of amalgam of the two as the cavernous breakbeat comes in, destroyed with compression. It immerses you in a melting pot of emotions and then locks a lid on top. As with pretty much every other moment of this record, you might be inclined to wonder what exactly this has to do with dubstep as we know it. A better question might be: Who cares?