UK-garage-meets-musique-concrete is how this record was provocatively billed, and of course even the faintest promise of such a thing had me drooling (don't get out much, me). I suppose at this stage people have subjected techno to so many avant-garde stress-tests, it's about time that 2step got pulled through the grinder too. But again it's one of those situations where you think, did this need to happen? Wasn't this music avant-garde enough (in the most deft and direct and visceral sense) before someone decided it in acousmatic noise?! Or, to invoke Masterchef: who wants deconstructed cheesecake when you could just have cheesecake?
So, when it came to it, I was ready to be dismiss 001 [Antenna]. But actually, it's a pretty fascinating, if so far pretty opaque work - it only arrived today and I'd be lying if I said I'd got my head round it just yet. I suspect this is one of those records which opens up, and becomes properly comprehensible, at extreme volume. In the meantime, consider me intrigued... its swarming, granular intensity echoes T++ (who arguably perfected this sort of swarming, granular, unheimlich garage with 2010's Wireless) but in the main this is a far more erratic, anxious, stop-start, (deliberately) aggravating listen: the fly on the cover beings to make perfect sense.
"A fly on the wall may face some adversity, so if you imagine a human hand in basic swatting motion, maybe you will also couple the image with an evasive manoeuvre of some sort; usually there is a moment of hesitation where the human is unsure whether their aim was true. 'Did I catch it?'"