ALWAYS EVERYTHING

PEVERELIST // HESSLE’S RINSE ANNIVERSARY

And another swift post to draw your attention to a couple of hours of music well worth your time. As befits one of the more diverse and consistently great shows on Rinse FM, Hessle Audio’s first anniversary show last Thursday was a bit of a special one. As well as featuring mostly 140bpm styled material – an increasingly rare development - from Ben UFO, Pearson Sound/Ramadanman and Brackles (including some superb old and rare tracks from the likes of Hijack and Mala), Bristol’s own Peverelist turned up post-set at FWD» to spin a dubplate-heavy half hour.

You can download the show here.

Unsurprisingly enough, alongside his recent mix for Futureproofing, it ranks among the better half hours of music we’ve heard for quite a while. Much as we’ve used a pretty serious volume of column inches on his music before (almost every time a new mix of his turns up online), it does bear repeating – Tom Ford’s sound continues to be among the more unique to have emerged from the scene surrounding dubstep. This half-hour mix (which starts at 1:09:00, though if you’ve bothered downloading the show you really ought to listen to the while two-and-a-half hours) is loaded down with his new tracks, including material for his upcoming Hessle release. Oh, and a few other gems, like the firey elastic techno of Szare’s ‘Snake Cave’ and Kahn’s ‘Like We Used To’,

I’m struggling to write this without descending into hype, but it’s hard not to feel that with each new raft of tracks Ford has further honed his sound, into a lean, muscular and percussive beast that skirts between the margins of almost every form of dance music. It’s those utterly distinctive drums that cut through all of his tracks: diffuse and skittery, but intensely groove-oriented, they carry the nervous energy of jungle into a form that’s spacious enough to allow moments of silence to make themselves felt. And as his music has slowed gradually from 140bpm to somewhere between 130 and 135, those tiny snags and slippages in rhythm have become ever more apparent, turning his rolling beatscapes into something unsteady, even volatile. Increasingly saturated with shimmering synth drones and sharply descending melody, these new tracks twist jungle and Detroit techno’s obsessions with sci-fi futurism into ever more immersive shapes.

His music fits perfectly alongside Hessle, another of the comparatively few groups currently pushing UK bass sounds in genuinely interesting/innovative directions.

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Rory