Addison Groove - Bad Things

Addison Groove is on fire. 2011 has marked an important year for Addison's production, prolific both in terms of quality and numbers. ‘Work It/Sexual’ set the tone, with Swamp81’s ninth release marking his strongest work to date. Shortly followed up by first-rate releases on Tectonic and 3024 (not to mention the white label remix of Photek’s ‘UFO’), the supply of Addison material has met its demand. The most recent signs indicate the Bristol-based producer has no intention of letting up on the works under his inventive moniker at present. Last month, Jackmaster included a new Addison dub in his mix for an audio/visual collaboration alongside Plomp&Clout, a track which demonstrates progression and experimentation with the ‘Addison sound’. Next up, a track entitled ‘Bad Things’ has begun to surface.

‘Bad Things’ is straight up killer, primed for the dancefloor. Rolling 808s weave with undeniable effect, deep bass kicks reverberating whilst rim shots sit somewhat closer to the surface. The rhythms progress and evolve throughout, proceeding to incorporate sharp hats and the legendary 808 cowbell. Strands of electro glistened synth stabs open every 8 bars, while invariable sub bass and quick fire Spank Rock vocal samples lend further weight to the precise beat. The sampling on this one cannot be underestimated, it’s a perfect fit.

Whether or not it will see a release remains to be seen. The only thing that is for certain is the fact that Addison’s stride will not be stopped.

ADDISON GROOVE - BAD THINGS by addisongroove

Addison Groove - Unknown

2011 has quite simply been a faultless year for Anthony Williams under his Addison Groove pseudonym. Three releases of real quality have surfaced in the space of a couple of months, providing material for a wide range of DJs whilst amassing superlatives from numerous music journalists and peers alike. From Swamp81 to Tectonic to 3024, Addison has always delivered excellence, perhaps the pinnacle of which is the sublime ‘Sexual’, a track that combines frenetic 808 rhythms with a sensual chord melody and hypnotic vocal sample. Addison’s sounds has continued to develop, becoming more refined whilst managing to explore further mutations, a progression ‘Make Um Bounce’ indicated on the Tectonic release.

The likelihood of Addison releases in the near future is unlikely after his prolific opening to the year. However, dubs seem to be surfacing, and will undoubtedly generate the same interest and excitement that predecessors ‘Sexual’ and ‘It’s Got Me’ sparked. The latest Addison track appeared at the end of the recent audio/visual collaboration between visual artist Pomp&Clout and Numbers head Jackmaster. The audio/visual mixtape itself is quite something, blending eclectic videos with outstanding mixing track selections from Jack Revill. Nonetheless, the highlight comes in the form of a new Addison Groove track that kicks in from 8:30 onwards.

This new track signals further experimentation, with Williams seemingly exploring sounds more indebted to house and techno, whilst retaining raw 808 patterns and quick fire vocal samples. A rolling 4x4 rhythm slowly transpires, with hi hats subtly filling the gaps in between. The 808 pattern gradually develops, patiently initiating bass heavy kicks and razor sharp toms. Delightful synth arrangements create a melody that harks back to Drexciya, forever keeping the cutting acid synths at bay. And the vocal sample completes the track, with the indelible female vocal reiterating “we like to fuck, yo ass up”. It may just be Addison's best work alongside 'Sexual'.

If that wasn't enough, Addison's remix of Martha and the Vandellas 1967 soul track 'Jimmy Mack' is quite simply something else. Williams' production under the Addison moniker is growing in strength if these tracks are a sign of things to come.

Hessle Audio - 116 & Rising (HESLP001)

For the past couple of weeks I have been relentlessly absorbing Hessle Audio’s latest addition to an already accomplished back catalogue. Hessle first LP comes in the form of the 166 & Rising compilation, a project which unties the label’s past with its present. The first CD and 3x12” is dedicated solely to new materials, the majority born from previous contributors to the label – although Addison Groove, D1 and Randomer all make their Hessle debuts here. The sheer volume of quality the label has fashioned since 2007 is quite remarkable, and when situated in a single release you begin to realise just how far the Hessle label has developed since its 2007 inception.

Label co-founders Ben Thompson, David Kennedy and Kevin McAuley have been at the helm, carefully mapping the direction of the imprint over the past four years. A total of 18 releases over the space of four years is less than prolific, however this in turn defines the Hessle way. In fact, it is quite remarkable that the trio have put together such a number of strong and innovative release, only pressing sounds they are thoroughly impressed by. The quality of each and every release is something to behold, a feature this compilation underlines in abundance.

The release is essentially split into two separate parts, although each is unquestionably related to its opposite. The 3x12” release points us in the direction of Hessle presents and futures. The vinyl pack is comprised of 12 new releases, with a varied mix of material selected. The A-side opens with Elgato’s sensual Music (Body Mix), a measured track which knocks away at 121bpm weaving weird and wonderful melodies around deep kicks and recurring percussive arrangements. Elgato’s opener is a real statement, contrasting Pangaea’s You & I on the second CD. The latter is more inclined to acknowledge roots in dubstep and 2-step, with a swinging rhythm drenched in anxious tones and layers that lend the track a strong sense of spatial atmosphere. This atmosphere doesn’t escape Elgato’s Music though, as track seemingly retains the stripped and distinctive ambience characteristic of numerous Hessle releases.

Blawan’s ‘Potchla Vee’ deserves special attention – although many would argue that is the case for all eleven tracks. It signals the work of a man on top form at present, perhaps even topping Getting Me Down. A pounding rhythm formed from extensive drum programming, complete bass heavy kicks and timely snares, is wonderfully offset by brooding synths that over roar beside an emotive female cry. It’s quite simply a contemplative killer. Addison Groove is testament also to the importance of electronic drum programming music, a trait that has become all the more apparent over the past 6 months or so – sounds pushed particularly by the likes of Swamp81, 502 Recordings and Hessle themselves. Fuk Tha 101 is very much situated in the current age, with Addison working a deadly 808 groove that will make dancers bounce. The quick fire Juke-infused sample repeatedly asserts “Fuk Tha 101”, a powerful combination which Williams manages to balance with a signature introspective melody, providing the track with room to breathe amongst the pounding 808 business.

Whilst acknowledging the new sounds and mutations that have descended upon the debated UK bass/dance scene in recent, the vinyl edition makes room for the D1’s Subzero, one of the most underrated dubstep dub’s out there. Its percussion is simple yet unquestionably effective, with an intimate interplay between snares and hi hats between the spacious left by each drowning kick. The track’s location in the centre of the new material is telling, and suggests the impact the style has had on this new generation of producers and sounds.

This concept is further explored when you compare the works of certain artists who have produced material situated on both sides of the release. Cosmin TRG may just be the strongest example of a producer whose sound has developed with current trends and mutations. Put You Down (released back in June 2008) harks back the low swung 2-step/garage of El-B et al - a style that obviously retains strong ties to the dubstep scene. The track’s propulsive 2-step rhythm acts as the focal points, around which sub lines forever simmer beneath a persistent vocal sample. Cosmin’s most recent addition is provided by Bijoux, a track with deeper ties to more recently explored house sounds. Bijoux carefully constructs effortlessly smooth rhythm that borders on the fault lines between house and garage, whilst a blissful chord melody induced, providing arguably one of the most soulful moments on the LP – although James Blake and Joe have just as strong a case.

I could go on discussing my love for the tracks featured on this compilation. I haven’t even yet mentioned the brilliance of James Blake’s efforts, or the refreshingly original efforts Joe has savoured for the label – new track ‘Twice’ is a highlight from the LP. However, it really isn’t about the individual tracks or artists featured here. This is a compilation, and something more is required than collating a number of tracks from various releases a label has put out, a facet one too many compilations have suffered from in the past. 116 & Rising evades such downfalls, and provides one of the most enjoyable listens you will experience in 2011. It is a fitting representation of the label, a unique imprint which in dictates a strong sense of identity and unity within its releases, a correlation which can established in relation to the first and second CDs. It’s a compilation which documents Hessle’s best work to date, but goes further in ensuring that the organisation of such material is structured to underscore the very distinctiveness of one of the UK’s finest independent labels. The 3x12 and 2xCDs are simply indispensable.

Praise should also be reserved for Will Bankhead (Trilogy Tapes), who has designed Hessle's finest artwork to date. If you're not familiar with Bankhead's work, get to know it. He's a regular on artwork for Honest Jons and the previous Doldrums releases (002, 003), the latter of which as so beautifully presented. It's the perfect meeting of art and music.

Tracklisting

CD1
1. Elgato – Music (Body Mix)
2. Untold – Cool Story Bro
3. Blawan – Potchla Vee
4. Pearson Sound – Stifle
5. Joe – Twice
6. Randomer – Brunk
7. Pangaea – Runout
8. Cosmin TRG – Bijoux
9. D1 – Subzero
10. Addison Groove – Fuk Tha 101
11. James Blake – Give A Man A Rod
12. Peverelist – Sun Dance

CD2
1. Pangaea – You & I
2. Untold – Test Signal
3. Blawan – Fram
4. James Blake – Buzzard And Kestrel
5. Untold – I Can’t Stop This Feeling
6. Joe – Rut
7. Ramadanman – Blimey
8. TRG – Put You Down
9. Joe – Level Crossing
10. Pangaea – Why
11. TRG – Broken Heart (Martyn’s DMC Remix)
12. Ramadanman – Don’t Change For Me

Addison Groove - 'This Is It/Make Um Bounce' (TEC049)

Addison Groove arrives on Pinch’s Tectonic imprint for his third release. ‘This Is It/Make Um Bounce’ represents both signature Addison production work as well as exploration of new sounds, which prove to be ever so effective on the indelible ‘Make Um Bounce’. Following the ‘Work It/Sexual’ 12” released on Swamp81 back in March, which marks his strongest work to date, his latest release goes someway to reproducing that sort of form. Addison is an extremely talented producer, and nobody can work an 808 like him, as evidenced on ‘This Is It/Make Um Bounce’.

‘This Is It’ is the heavy stepper on this two track affair. Opening with juke’s pounding 808 bass hits and flurry of alternating beep tones, the track shows closer ties to previous works such as ‘Footcrab’ and ‘Work It’, a trait further endowed by the repetitive female vocal sample stating “k y’all this is it, kk y’all”. The signature Addison break soon dawns, and it produces the real defining moment and turning point of the track. The frenzied opening is instantly turned on its head, with a mellow and introspective sound arising. A blissful synth chord melody plays alongside warm diva vocals, elements quickly adapted for the dancefloor by the pulsating 808 bass kicks.

The B-side entitled ‘Make Um Bounce’ is likely to be the track turning most heads on this release. It’s set at a tempo much slower than anything Addison has produced before (133bpm). The style is also different, with a sound that seems to combine elements of the electro and classic Chicago house. A rolling 808 pattern echoes Chi-town’s past, with energetic acid synths bubbling beneath the surface whilst the incessant resonance “y’all gonna make um bounce” hypnotises. The 808 rhythm continues to hammer away in a fashion comparable to the vocal sample, working up a formidable storm in the process.

As per usual a heavyweight release from Addison, going some way to confirming his status as one of the most talented producers around at the present. Give him his 808 and he will undoubtedly create sounds that delight. The 12” is out now, be sure to purchase. Also keep a keen eye out for his wonderful 12” forthcoming on Martyn’s 3024 imprint, due for release on May 2nd. Make Um Bounce.

Boddika - '2727' EP (SWAMP011)

2011 is Swamp81's. Their 11th release comes in the form of a 4 track 2x12" from the prolific Boddika, who can claim an equal hold over the year's proceedings to date. Since the release of Addison Groove's 'Footcrab/Dumbshit' the imprint has been outstanding, delivering each and every time in terms of both the quality of music and the artwork in which the 180g vinyl is packaged in. Limited vinyl only releases provided in the finest sleeves curated by Ashes57, Swamp81 have set themselves apart. Boddika's strongest work to date on the '2727' EP further reinforces this ever developing reputation of quality control, proving to match the quality of Addison Groove's 'Work It/Sexual' (SWAMP009).

‘2727’ forms the EPs A-side, and it develops into a real electro stepper. The introduction is intricately programmed, with machine percussion delicately knocking away, whilst toms clash and the repetitive vocal sample sounds. The drop is quite something, with muscular kick drums and heavy subs drowning out the previous tentative percussion. Signature gritty acid synths arise during the break, with hi hats setting a rhythm of their own in the shadows. Bass kicks soon dominate once again, alongside the resounding vocal sample and sharp tom hits. ‘Sometimes’ on the B-side takes a different route, adopting a style close to jacking house. A steady 4/4 rhythm is immediately set, built upon by ever so slightly off beat claps. Acid chords soon loom whilst lofty synths ascend, set into a structure by the jacking beat, deep subs and precise claps.

‘Soul What’ is the track with real soul on this EP. Jarring bleeps and sharp percussion set things off, with female vocal murmurs replacing the latter. This leads up to pulsating bass kicks, installed with perfectly programmed 808 rhythms, intermittent claps repetitive vocal samples. The break is what makes this track special though. A beautiful synth chord melody is established alongside the infectious soulful cries of “oh yeah”. Delicate percussion is smoothly incorporated, preparing for the development of the track under heavy kicks and sub bass. ‘Rubba’ provides the highlight of the four here though, with a delightful synth chord melody progressing alongside 4/4 808 rhythms that transform over the minute long introduction. Heavy bass kicks and razor sharp toms battle away with the flowing synth melody working away on the surface. Coarse acid lines contrast the lighter melody, gaining real prominence in the second half of the track. Fully formed percussive arrangements batter away whilst the acid slowly decays, hesitantly replaced by the wonderful earlier melody.

Quite simply an essential 2x12". The double gatefold pack is beautiful, the perfect accompaniment to four killer tracks. Ahses57 adds the wonderful details and finishing touches once again. Swamp81 and Boddika on top form. You know what to do.

2727 EP
a - 2727
b - Sometimes
c - Soul What
d - Rubba

Hessle Audio Presents '116 & Rising'

Hessle Audio will be releasing a label compilation titled '116 & Rising' on the 16th May. The release will feature 2xCD, 3x12" and a digital release, representing past and unreleased materials surrounding the reputable label. Hessle, the imprint co-founded by Ben UFO, Pangaea, and Ramadanman/Pearson Sound, has consistently been one of the strongest on the scene over the couple of years, with the label's 18th release unveiled last week in the form of Peverelist's 'Dance Til The Police Come/Fundamentals'.

The compilation is purely within keeping with the Hessle family, with every producer to release on the label featuring alongside a couple of exclusive guests. The first CD is dedicated to new releases, with 9 coming from artists with previous releases on the imprint. New efforts from Elgato, Pearson Sound, Blawan, and Joe's exquisite 'Twice' excite, and indicate the quality that is behind '116 & Rising'. This is further supported by exclusive releases from Randomer and Addison Groove, the latter whose 'Fuk Tha 101' has been proving a killer in the sets of Loefah and Kennedy.

CD 2 is firmly focused on revisiting the label's previously released 12", exploring the high standards of their ever growing back catalogue. Selecting tracks to construct the CD would have been one hell of a task in itself, but it looks as though Hessle have been well represented here. Ramadanman's 'Don't Change For Me', Martyn's beautiful remix of TRG's 'Broken Heart', and Blawan's 'Fram' provide the strongest, although I could have selected almost every tack to feature on the second CD here. Pure class.

The 3x12" edition of the compilation will be formed of the new releases, presented in artwork created by the excellent Will Bankhead (Trilogy Tapes), who has regularly produced work of an identical quality for Honest Jons and Doldrums. With a tracklist so strong, and artwork so aesthetically pleasing, why wouldn't you purchase the release? 16.05.11. Buy on site material from Hessle as per usual.

'116 & Rising' Tracklist:

CD1
01. Elgato – Music (Bodymix)
02. Untold – Cool Story Bro
03. Blawan – Potchla Vee
04. Pearson Sound – Stifle
05. Joe – Twice
06. Randomer – Brunk
07. Pangaea – Run Out
08. Cosmin TRG – Bijoux
09. D1 – Subzero
10. Addison Groove – Fuk Tha 101
11. James Blake – Give A Man A Rod (Second Version)
12. Peverelist – Sun Dance

CD2
01. Pangaea – You & I
02. Untold – Test Signal
03. Blawan – Fram
04. James Blake – Buzzard & Kestrel
05. Untold – I Can’t Stop This Feeling
06. Joe – Rut
07. Ramadanman – Blimey
08. TRG – Put You Down
09. Joe – Level Crossing
10. Pangaea – Why
11. TRG – Broken Heart (Martyn’s DCM Remix)
12. Ramadanman – Don’t Change For Me

Julio Bashmore - 'Batty Knee Dance' EP (3024-011)

Julio Bashmore provides the goods once again. Martyn's 3024 imprint as really come into it's own in the past couple of months, and it's biggest 12" of the year has arrived in the form of Bashmore's 'Batty Knee Dance' EP, although it could potentially be surpassed by Addison Groove's upcoming release on the label in May. The EP is very good in its own right though, a sign of how far Matt Walker's (aka Bashmore) production has developed in the last few months. The 'Everyone Needs A Theme Tune' EP, released in January, was Bashmore's best to date, with the delightful house numbers 'Battle For Middle Ground' and 'Ask Yourself'. However, I can't help but feel the title track here eclipses the two previous efforts.

'Batty Knee Dance' is most definitely the highlight of the 12", marking Bashmore's most refined work. A track built on patience and repetition, its infectious sound resonates. Soft 808 pads set up a slick deep house rhythm, with claps aligned with every passing hit. Deep bass kicks give the track a darker side, one which is contrasted by the beautiful synth chord melody and recurring vocal sample. crying "oh yeah, we should get married". The latter two elements provide the tracks most soulful moments during the break, when the smooth beat and bass kicks are absent. These factors are soon reintroduced though, returning to the track its well constructed rhythm. Killer.

'Ribble To Amazon' functions in a similar way to 'Batty Knee Dance'. The house rhythm is brilliantly constructed once again, with cowbells neatly animating in spacious gaps. Synth pads create long periods of build-up alongside the chopped-up vox'd vocal sample. A strong b-side to the simple excellent 'Batty Knee Dance', which undoubtedly steals the show here, and rightly so. 12" available for purchase now, with brilliant artwork characteristic of 3024 releases. Buy. Buy. Buy.

Swamp81 x 502 Recordings at Cable

We Fear Silence presents Swamp81 at Cable on the 23rd April, and the night they have in store promises to match the quality of the label's recent releases. Loefah's Swamp81 imprint has gone from strength to strength over the past few months, with killer 12" releases from Pinch, Boddika, Addison Groove, and most recently FaltyDL. And, of course, there's the small matter of the signing of 'Sicko Cell/Knock Knock' for the label's 14th release. The night at Cable is a sign of the growing Swamp brand.

Swamp81 will head up the main room, with a line-up that will bring many to tears. Shortstuff and Reecha will warm the crowd, building for the arrival of Ben UFO, FaltyDL and Boddika. Joy O will then provide his wonderful blend of the blissful and the bastard, with an exclusive 2 hour mix from head honcho Loefah in the midst of this talent. Excellent.

If that wasn't enough, room two will be hosted by the increasingly reputable 502 Recordings. Oneman's imprint has two 12"s in it's back catalogue to date, from Fis-T and Jay Weed respectively, with a huge 12" from newcomer Teeth to be released very soon. 502 will be displaying it's array of talent, with the brilliant Visionist, Fis-T, Jay Weed and Teeth all playing in the second room. Oneman will also be contributing another of his revered sets with the help of everyones favourite MC Asbo.

23.04.11. 10pm-6am. £9 advance tickets/£12 OTD. Attendance is vital.

Addison Groove - 'It's Got Me / Minutes Of Funk' (3024-012)

New Addison Groove material forthcoming on Martyn's 3024 recordings. A year between his first and second 12" releases, it seems as if Tony Williams has been refining the 'Addison Groove sound' over the past 12 months, and this is something which will be evidenced in a prolific run of releases over the next couple of weeks. 'Work It/Sexual' (Swamp009) asserted the development of the Chicago juke-infused UK bass sound that Addison has been slowly but surely perfecting, with frenetic drum programming, pounding 808 hits, constantly shifting synth tones, infectious vocal samples as well as beautiful introverted breakdowns that delight upon every listen. 'Sexual' demonstrated Addison's strongest work to date, but this may just be outdone by two forthcoming releases.

Addison's next release is for Pinch's Tectonic imprint, with the 12" due for release on the 18th April. Two tracks feature on this single, titled 'This Is It/Make Um Bounce'. Previews of the tracks are currently unavailable, although both tracks are filtering beneath the surface in select mixes. I've only had the opportunity to experience a brief clip of 'This Is It', and it undoubtedly rivals 'Sexual' in terms of quality, Addison providing a wonderful balance between blissful and the bastard.

Addison's following 12" will be released through 3024, with release date set for 2nd May. This will be another two track single, featuring 'It's Got Me/Minutes Of Funk', forming yet another killer release. These are two tracks which Addison has been sitting on for a good while now, with 'It's Got Me' featuring in his mix for Mary Anne Hobbs back in April 2010, and 'Minutes Of Funk' included in Jackmaster's URB mix in October.

The A-side ('It's Got Me') is the stepper, with intricate drum programming that forever builds and progresses, with each snare initiating varying synth chimes. A repetitive vocal soon accompanies, leading up to the brilliant breakdown, in which repetitive cowbells sit comfortably alongside a soft synth melody. These elements are soon joined by pounding 808s, handclaps and a hypnotic vocal that forces movement. The B-side is an equally brilliant effort, a smoother track more along the lines of 'Sexual'. 'Minutes Of Funk' situated around a rolling 808 rhythm, with flickered hi-hats filling the gaps in between. Looped vocals samples feature throughout, and resonate in the mind along with a lovely synth melody which emerges from beneath the breakdown. Listen the the track preview's in the bar below.

Undoubtedly two of the finest track's you'll hear this year, with Addison further cementing his reputation for creating what 3024 themselves have termed a 'one man genre'. 'It's Got Me/Minutes Of Funk' are evidence of Addison's strongest work yet, challenging the quality of his previous release which itself has made a huge impact. And this is without full exposure to his next release, 'This Is It/Make Um Bounce', which promises to please likewise. Three killer releases within the space of three months. 2011 is the year of Addison Groove.

3024-012 ADDISON GROOVE EP by 3024world

Press Release:

'3024's West Country themed takeover climaxes with the 2 previously unheard tracks from one man genre Addison Groove. Marrying hyper kinetic drum programming and dusty-crate dwelling loops to gauzy electronic textures and introspective breakdowns has marked the artist formerly known as Headhunter out as exactly the kind of resolutely unclassifiable Producer 3024 set out to support, and the below tracks are the strongest evidence yet of the increasing refinement of the Addison Groove sound.

Wrapped around the physical version is probably Erosie's most elaborate sleeve design yet, with the chromatic splicing a perfect partner for the contents it flamboyantly protects.'

Introducing Visionist (Mr.67)

Introducing Visionist (Mr.67). The 21 year old producer is one of the most promising artists around at the minute, with his unique take on UK bass music making quite an impact. Visionist is part of the ‘We Are Dubist’ crew, a collective of MCs, DJs and producers who run a series of dubstep nights. Visionist isn’t a dubstep producer though. ‘Mr.67’, the track which featured in Oneman’s set at the Boiler Room #45 (Standard Place), demonstrates the young producer’s unique sound, one which I can only draw comparisons to in relation to Addison Groove (especially ‘Footcrab’), and still there are notable contrasts.

‘Mr.67’ is infectious. The tracks intricate percussive arrangements, distant synth, recurring cowbells and repetitive vox’d vocal sample combine to form a track which will soon dominate sets, in a similar fashion to ‘Footcrab’ and ‘Work Them’. The track has been receiving a great deal of support, with plays on Rinse FM from Blackdown and Oneman, as well as backing from the likes of French Fries and Dark Sky. It has also been recently announced that Visionist has signed to Oneman’s 502 Recordings, and he will also be working on releases for another couple of releases which should hopefully be surfacing soon.

Visionist (Mr.67) has kindly put together an exclusive mix of his own productions for us, demonstrating his promise as an artist. The mix contains some excellent material, with highlights including the ever growing ‘Mr.67’, 'A.E.O.M', 'Can’t Handle This', and ‘Come In’. If this is an indication of what’s to come from Visionist, he will undoubtedly emerge as one of 2011’s most promising producers. You can check out Visionist’s sounds by clicking here, and the mix is available for download below (follow the link to download).

Visionist (Mr.67) - Daily Bugle Mix

Tracklist:
- Mr.67
- A.E.O.M
- W.M.I.D
- I Don’t
- Sweepstake
- Can’t Handle This
- Tropic Thunder
- Rock The Flock
- Temptations
- Come In

Addison Groove - 'Work It/Sexual' (SWAMP009)

Addison Groove - 'Work It/Sexual'

If I could convey my sense of joy at receiving this 12" through the post last Friday morning I would, but I'm afraid words just wouldn't give the feeling justice. Originally due for release on the 28th February, the date was pushed back, but thankfully only two weeks. It's been 8 long months since I first heard and fell in love with the wonderful b-side 'Sexual', which surfaced at the end of Ramadanman's mix for Mary Anne Hobbs back in August. Ever since, endless repeats of a short two minute clip have been endured much to my dissatisfaction, however, such a prolonged wait has made ownership of the 12" all the more satisfying.

'Sexual' sounds beautiful in its full duration on wax. 808 beats drive the track along at 144bpm, with the sensuous subs, infectiously looped sample and Detroit house pads creating an effortlessly smooth rolling vibe. For me it's the track of 2011 so far. 'Work It' is another excellent production from Addison, more inclined to fusing elements of juke and straight electro, with pounding 808s, rousing acid basslines and a killer vox'd vocal sample. Two killers from Addison, and you'd expect no less. The quality of the 12" and the artwork is second to none also, a mark of Swamp81's work recently. Fine 180g vinyl delivered in the sleeves and artwork by the brilliant Ashes57. I couldn't ask for more.

Swamp81 and Addison provide the best to date in 2011.