This is it, the last batch of words culled from the absorb.org archives. For those that don't read reviews, can I just say that you purchase or download the following. They really are worth the effort.

Andy Vaz: First Aid Course EP (Persistencebit) - EP
'6-6 [re-] visited' is clunky'n chunky, playful in its approach to melody. The title track is a straighter affair and more immediate. Twisted, lithe mutations of processed digital riffs seem to be the template from which he's working off. Resulting in an EP of minimal house finesse.

Portable: Flicker (Background) - EP
Originally hailing from South Africa, now resident in London; Portable manages to drop subtle references to his African lineage into the production. 'Liquid crystal display' reminds me of Richard H.Kirk's later work, where loose drums would filter in and out of the 4/4 structure.

Various Artists: Terminal 1 (Narita) - 12"
Previous missives from this fledging label have proved excellent pupils in the Kompakt / Trapez school of house. But this is something different, moving away from 4/4 to more esoteric rhythmic territories. Sounding like a twisted Detroit homage, opener 'Swaggle' by Yard is fun and addictive; thrown together beats, clipped schoolboy vocals and a haphazard approach to song structure make this the highlight.

Anna Kaufen: Drive in / Drive out remixes (A Touch of Class) - 12"
Skip the first two rather dry remixes by Dave Miller (stop/start rhythms, uneven in flow, dark when it should be light) and head for Akufen's original 'Who Carez'. Whilst the word on the street is that Akufen has somewhat lost the plot with recent releases. This effort does remind you of what all the fuss was about in the first place; jump-up beats, clipped vocal snippets and liquid funk basslines.

Mike Shannon: Sublet (Logistic) - EP
High-end percussive shuffles fight it out with growling leads and sequenced tones, all held together my the almightiest of sub-kicks. The title track is the best exponent of this template; supplemented by midi-chirps and agressive front. 'Johny' goes one step further with highly melodic basslines adding some much needed funk.

Baeka: Beat & Desire (Morris Audio Citysport Edition) - EP
Deep, speaker rumbling basslines cushion beautiful jazz and rhythm'n blues motifs. Opener 'Caress the sun' tacks deep south samples down to the timeline to make for a hypnotic and satisfying listen. 'The mountain' goes one step further and features some nifty piano lines. 'Mom's house' errs towards fully fledged vocal-led house, the highly stylised vocals are appealing and emotive.

Eriko Tanabe: I like to wear my tanga (Morris Audio) - EP
Flat thuds counterpoint cheeky organ riffs, whispered vocals and neat little details that are pushed to the fore with each passing bar. On one hand driving and forward, on the other wanting to lie back and lounge it. The b-sides eases up on the throttle and as a result, 'Moonlight' walks off with the killa track award.

Someone give me some work to do, I am clearly bored.

Matthew Dear: Anger Management / Audion: Kisses (Spectral) - EP
On 'Anger Management', not an effect, melody or beat is wasted. As contagious as any of his other releases and continues to confirm the label as a major force in global techno. Anyone else though, will wonder what all the fuss is about. With 'Kisses' its Matthew Dear by any other name, the techno boy wunderkind flirting with the Chicago jackin' sound. Low kick thuds try to stop an ever fluctuating rasp from swamping the entire mix. Might sound a bit gay on home listening but will work wonders in a club.

Jeff Samuel: Windux / Dash Dude: The Radio Diet (Morris Audio) - 12"
'Windux' is no-fucking-around four-to-the-floor house with shades of click. Just pretend you know what you're talking about and quote the track 'Sloung' on your travels. Dash Dude's full length LP is reportedly cracking, this 12" unfortunately plays it by the numbers. Slightly stodgy, predictable click house punctuated with lazy processed vocals. The presence of remixes by Jeff Samuel and Hakan Libdo doesn't really save this. Both up the kick drum but I reckon that's as far as they could have gone with this.

Apoll: Family Three / Jussipekka: Work The (Morris Audio Citysport Edition) - EP
Some might call Apoll's effort uninspired, boring and lacklustre....and they'd be right. But after some uninspiring releases on Pokerflat, Jussipekka delivers missives that veer from the heads-down driving techno of 'Work it, Move it, Do it' to visions of Detroit on the awfully titled 'The Hippi'. Jazzy house isn't really our thing and we've yet to decide if this track steps over the acceptance boundary. Exiting the EP is the excellent 'Lempi'; rich, sustained ambient chords pierce the unusual lolloping rhythm.

Secondo: It's any late time (Dreck) - 12"
Secondo: We got it like that (Soul Jazz) - 12"
Secondo AKA Radovan Scasascia provides us with two marvellous examples of digital disco. The funk basslines, hi-NRG chords and even vocals are all put thru the laptop shredder and emitted in micro bursts. sonically effective as well as retaining disco's underlying ability to rhythmically propel you. both are worthy demonstrations of the technique.

Magnum 38: 4 fois le petit mort (Shitkatapult) - EP
Yet to be bored by anything on this label. And this understated release by Magnum 38 has its moments. 'Sagemann' is definitely the weakest; 8-bit buzzsaw bassline left running throughout its duration just simply annoys. Coming off like a poor man's T.Raumschmiere. but 'Klinik Jive' sounds as good as its title; bursts of distortion controlled to a 4/4 template.

Anne Westphalen: Everything else (Sue Mi) - 12"
Stunning collection of micro-grooves. 'Gleisdreieck' reminds me of AGF; beautifully rendered tales of lost love and late nights mapped to a berlin kick. The remnants of dub scrapes and max patch shavings are lovingly sculpted into ambience on 'Saltlakecity'. The sort of textural dub that just about everyone is doing, but few seem to pull off with any style.

Portable: Gridshift (Sud Electronic) - EP
Texturally correct; smooth as slick b-lines pulse and vibrate, tunes are roughened up, effects are applied. But it's on repeated playback that the mood takes a backseat and digital details are revealed. As the EP progresses, resonance and diffusion of brightness are gently increased until the whole palette is reduced to pixel dust.

The wife was away and i had code to do. Anil had other ideas....

Euston
The intoxicating mix of spices and drifting traffic fumes make up the aroma of Drummond Street. Tucked away behind the jostling frenticism of Euston station, here are a rag-tag selection of Indian eateries. We plumped for the no-nonsense thrills of Diwana: the sauna-like wood panel interior guarantees a short stay, but the vegetarian thali's are second to none.

But the real jewel in the crown is Ambala Sweets. Hotel lobby style decor presenting a naughty selection of sugar rushes. We chose Chocolate Burfi and got high. Tonight Matthew, Anil and I are the Burfi Squad....

Charing Cross
Guest List. Denied! Oh well, it didn't seem to add up anyway; the night at the ICA was called 'This is Our Punk Rock' and consisted of DJ Sets from Four Tet and Plaid. I mean, WTF?

Dalston Kingsland
Where Turks sell vegetables and furniture to each other. Like Lightning Bolt, Duracell's genius cannot be quantified into pixellated words on a screen. Instead look at the above picture and chew on some Bacofoil to achieve the desired effect. Much love to the Adaadat crew.

Farringdon
The cock quotient at Fabric was unusually higher than normal, tourist cunts adorning shades in darkened rooms. Bloated council-estate scum unable to make their bodies move in-time to any form of amplified rhythm. Increased feelings of 'what the fuck am i doing here'. Partly eradicated by the fact that we didn't pay the fifteen quid to get in. It was a military operation for us: get in, find space, dance up against cooler-than-thou japanese girls, leave. All in one hour and thirty-minutes. Natch.

The FuckOff One Soundsystem at Fabric did its job perfectly. Maximising the deep 'n crisp 'n even sounds of the Minus Records crew. Marc Houle teased squiggly data from his array of gadgetry and afterwards DJ Magda jumped between decades as fast she could. From Plastikman's 'Spastik' to Adonis' 'No Way Back' and everything inbetween. It did funny things to Anil and I. He swung like a well-hung baboon and I meandered like a contented cat.

The Burfi Squad: powered by Ambala Sweets.

I should really ditch jungle & drum'n bass really. Grime is where the kids are at, only old ravers buy jungle these days. I think they should just convert the downstairs part of Black Market Records into a playpen, so nippers can fart around in the sandpit whilst their parents reminisce about old Reinforced 12"'s. Plus the fact that I've never been to a decent jungle night....ever.

Stranjah & Da Gremlinz: Breach / Diapor Rash (Architecture) - 12"
Super-technical, plug-in heavy jungle that could only have eminated from modern portable software. The end results are as soulless as the process....but they don't half pack a punch. 'Diapor rash' relies on a rhythm more affiliated to breaks than jungle and therefore loses out on hardness points, despite the shuddering repeat-fire bassline. Target the needle on 'Breach' and view the art of collapsable beats fighting it out over rave klaxons and a breakdown that catches you off-guard every time.

Baron: A Modern Way / Hit Squad (Baron inc.) - 12"
Whilst 2-step/grime/eski/dubstep has stolen basically all of drum'n bass urban thunder, there are still some amazing records being issued on a weekly basis. You just have to look that little bit harder. I just make it easier for myself and ask the lovely staff at Soho's Black Market records (nod to Nicky) for a selection of the week's goodies. And this week included this stunning release. Two cuts of hyper hyper rhythm rhythm, (steam) rolling b-lines that warp / morph / twist as it sees fit and layered sci-fi effects. Both the A and B side battle it out for the hardest, Both are tough but it's the A-side that edges ahead. Essential digital breakbeat mayhem.

Venetian Snares: Infolepsy EP (Coredump) - 12"
I did the artwork for this, so its bound to be fucking ace. Buy it, you lacksadasical cunts.

Serious Intent / Certain Criteria: Split 12" (Formula) - 12"
By the numbers icy cold digital breakbeat. compressed breaks, trashcan beats and urgent snares make up the frenetic and superior palette of 'Detune'. The sound of distant raves speeding by at high velocity. Despite the title 'Raas Clart' doesn't have a trace of ragga in it, but is instead a rather weak companion to all that's gone on before.

Equinox: Stagger (Intabeats) - 12"
Soho, Tuesday, pissing it down....the turntable laden counter at Black Market bereft of spotty students and wannabe grime superstars. Allowing yours truly to not feel so out of place and therefore take my time spinning the latest yoof music at my own leisurely pace. Piling through the rapid fire selection offered to me by Nicky, I eventually plumped for this. Amen edits of the most frenetic variety. If you see this, then buy it.

Pulled from the frozen database entries of absorb.org. Blog filler? Me, with my reputation.....

Hieroglyphic Being: Machines For Lovers (Spectral) - 12" EP
Unashamedly retro in its manifesto, the press release states that Hieroglyhpic Being (aka Jamal Moss) is carrying on the torch of Chicago house. Now some might argue that the flame was extinguished a good decade ago. Certainly the jack hammer rhythms and laissez-faire approach to melody evoke memories of Ron Hardy, Farley Keith et al. I think the reason that those records still sound great is because they were inventive, innovative and have since ingrained themselves into the stuff of legend. Merely trying to accurately re-create that sound, as on this EP, just makes me want to go back and revisit those old records instead.

Various Artists: city2city part 1 (Morris Audio Citysport Edition) - 12"
Possibly the best statement from the Morris Audio offshoot: the brilliantly named Citysport Edition. Propelled urgency on the beat front makes for engaging listening at home and in the club. with a standout cut by the erstwhile Jeff Samuel, showing him to be on fine form. And a surprisingly techno offering from Noah Pred; 4/4 dynamics tussle over the complex riffage. but it's Theodore Zox who makes the most strides with his contribution; stopping off at the altars of Chicago and Detroit to bring us an overtly uplifting addition to the click house folder.

Osborne: Bout ready to jak Remixes (Spectral) - 12"
I envisage the artists on the Ghostly roster as a band of modern day vikings. targetting musically-rich American cities and pillaging their heritage for their own ends. Osborne's target seems to be Chicago for this 4-track excursion. the grinding, lo-fi jackin' house sound prised up, dusted down and forced to dance for his own sick amusement. Unfortunately the results aren't too amazing. sure, it throbs, squiggles and stomps to immediate effect, but it's all been done before.

Quenum & Lee Van Dowski: Extension (Cadenza) - 12"
Could get lost in the sea of click house releases that are currently flooding these shores, if it weren't for the fact that its so fucking good. Understated and less flashy when compared to material on the Perlon or Kompakt labels. But in its whisper, it makes the loudest statement. 'Extension' quietly and unhurriedly builds up over its allocated timeframe, dropping the killer moment midway when the previously muted drums turn into pounding and immediate rhythms. 'Oregon' on the other hand, doesn't mess around and goes straight for the jugular.

Rod Modell: Sacred Geometry (Echocord) - EP
Echocord continue to tread the same hallowed path as the likes of Basic Channel. Some of their catalogue even coming up to par with those revered Berlin releases. But if dub music was all about the space between the notes, then Rod Modell seems intent on filling it with subtle blink-and-you'll-miss-'em melodies. Everything on this typically understated release is high-calibre dub techno. But there's something quite eerie and beautiful about the way 'Psychic Attack''s background chords can still be heard long after the record has finished.

Mathew Jonson / The Mole: Moss Rocks (Arbutus) - 12"
Not a bad start, if a new label kicks off with an offering from techno wunderkind Mathew Jonson, then we must be in good company. His further explorations in deep techno result in some melodic flourishes that move uncomfortably towards trance. But enough dissonance and diffusion to keep it street. the B-side is by The Mole and is best left untouched.

Echopilot: Deeper Function (Morris Audio Citysport Edition) - EP
Ruthlessly efficient, satisfying deep house. Skittish melody dances around dominating basslines and shuddering rhythm, punctuated by occasional vocal bursts. This formula works well on the opening 'Be like me', but falls flat on 'Wurm'. The title track is a stunning marriage of phased guitar and sub-bass mantra, before the subdued ambience of 'Faith' rides us out electra glide in blue.

AM/PM: The Ends (Dreck) - 12"
As Secondo, he makes clicky disco and minimal house. But this is something more refined, thoughtful, melancholic. evoking a similar mood and palette to recent Murcof material, this fuses classical themes to a digital framework....conceptual too. All the samples are taken from the final notes of other records and it's a concept that works well. Organic fuzz, hums and drones underpin subtle and intricate loops; both rhythmic and melodic. Treated piano's stretched to snap to a timeline whilst beats emerge from behind the shadows. like music viewed through a photosonics camera: suspended to slow-motion.

Akzidenz Grotesk: The future is vintage (Mental Groove) - 12"
Slick Swiss house....try saying quickly a few times. After listening to minimal noise for like an hour, this was given a most warm welcome on the absorb system. Moving from dreamlike ambient-infused territories ('Dry clean only' ) to bleep-ridden detroit homages ('Haka'). this is superlatively palatable dance music.

Anders Ilar: Treasure Gardens (Echocord) - EP
Currently not putting a step wrong, Anders Ilar takes miminal techno to icier extremes. Without ending up sounding like some second rate Monolake chancer. If, like a lot of music dullards that I run into, you're not aware of his work then this is a pretty concise intro. Start here and work your way back. This is a good record.

The night was young, but unfortunately I'm not. So after having endured a night out in the scum-infested (media types / general public) streets of Soho, the gentle easy ride of the 189 bus to take me home was a fucking relief.

When I got home, I did listen to these....

Alter Ego: Daktari remixes (Klang) - 12"
Having been one of the few not converted to Alter Ego's recent resurrection, the old gits of dance music have managed to rope in some key names from the minimal house movement to make them look good. Just skip Villalobos' rather dry take-the-money-and-run effort and head for Robag Wruhme's epic rejig. Looped, lopped cuts punctuated with hisses and hics; its as if his framework of rhythm is powered by steam.

Mathew Jonson: She is He (Itiswhatitis) - 12"
After laying into Mr. Jonson in a previous post somewhat, I have to say I take it all back. I'd initially lost then subsequently found this old release behind the sofa. The title track is the best thing he's done, hands down.

Luciano & Serafin: Funk Excursion / NSI: Max Binski / Luciano: Bombero's (Cadenza) - 12"
As the first rushes of spring take their hold of North London, these three 12"'s seem to perfectly reflect this new light. Label-boss Luciano's policy seems to be to release tracks that fill an entire single side that play at 33. They're slow, studied and build over its own idea of time; these are hardly immediate rushes of click. Check the addictive build of 'Funk Excursion', NSI's 'Clara Ghavami' propels and shudders to the tune of washed out piano lines and Luciano makes my train journeys that much better with 'Octogonal'.

The Ivytree / Chris Smith: Split #17 - 12"
Konono No.1 / The Dead C: Split #18 (Fat Cat) - 12"
Part of Fat Cat's long-running split series, rifle shot artwork oozing collector's lust. Past submissions from the likes of Fennesz, Matmos and Merzbow have been pretty on the mark. But this time, we tread the unfamiliar. Chris Smith's swatch-shifts in drone, The Dead C rustle up an impressive array of instruments for their post-rock parables and The ivytree are staying out for the summer. But best of all though is the distorted drum-ride of Konono No.1; afro-rhythm amplification taken to extreme frequencies. Imagine Lightning Bolt left stranded in the Congo for a year; intense, mesmerising and possibly the most startlingly original 12" I'll hear in 2005. They'll be hitting London in May supporting Tortoise....it's gonna be well Africa.

Geoff White: Ique - Roc / Tadeo: Dub Infection / Alex Under: Multiplicanciones (Apnea) - 12"
Spain is rapidly becoming the mediterranean centre for all things click and the Apnea label is yet another addition to growing number of outlets. Geoff White, possibly the busiest man in house, kicks things off with a yet another faultless performance. But it's the loopback dub undertow of Alex Under's remix of 'Roc' that gets the universal head-nods of approval. The intro sequence of stop/start rhythms and timed delays are almost too beautiful for words. Tadeo manages to rope in dub-techno-voice-for-hire Tikiman to add some much needed style to his rather lacklustre effort. But this paragraph really belongs to Alex Under; three untitled tracks of well-developed, sophisticated micro-dub.

"I hope I do interesting things with jungle.", claims a tired Aaron Funk. His current state of fragility belying his appearance: tall, beefy and not too dissimilar to a Nordic viking, Yet his personality gives nothing away as to the music that he is known for.

To most, it can seem incoherent and messy, like a grown man throwing a child-like tantrum. But for those able to capture and process quick enough, it's obvious that it's lovingly slaved over. Each variation of the Amen break morphed, spliced and shredded to within an inch of its playback life has had thought and care applied.

OK, so not everything seems to be consistent in his approach. Sometimes, the super-technicality of it all can get in the way of a good tune. Comments leveled at his material frequently include the words 'cold' and 'detached'. But I find his music is often loaded with emotion and playfulness. It all goes against the grain of his alloted genre: 'breakcore'. Which hints at digital nihilism; just wanton white-boy aggression via sequencing software; throwaway, bereft of meaning and disposable.

The nuggets in his past missives are numerous, but for those still not convinced. I would point them to 'Rossz Csillag Allat Szuletett'. His latest and seventh full-length release for Mike Paradinas' Planet-Mu label. Many of those already subscribed (and there are plenty, if Mu's sales figures are to be believed) are convinced this is his most audacious release yet. Fusing a classicist european palette with ear-splitting high-velocity acts of free-fall rhythmic vandalism, results in an album of stark contrasts.

Formulaically simple: classical strings used to build up the tension, brutal bursts of breakbeats used as release. Best demonstrated on the astonishing 'Szamar Madar'. I'll leave it to Jon Soul Jazz to have the last word. His portable digital playback device momentarily paused, his body and mind slowly re-aligns....."I can't listen to anything else. I tried, but it all sounds shit."

The imbalance in my life of work, work and work has left me little time to indulge in music that doesn't live on my laptop. iTunes, with its convenient interface and the fact that its within my current constant field of vision, means that my vinyl and cd collections are starting to get neglected. Moreso with vinyl; the extra physical effort required to listen to anything has forced me to create a mental cordon around my records.

But here were some exceptions:

Sutekh: Two Rhapsodies (Context) - 12" EP
Upon sneak listens of his debut album for Tony Morley's Leaf label, it sounds like Sutekh is trying to shake off his 'techno' hoodie. Shame really, as when he's on form, he's pretty untouchable. His 'Incest' LP for Force Inc being pretty much the definitive statement. But the A-side on this is pretty fucking amazing. It clips, squeaks, crunches and fizzes in all the right places and mid-way introduces some ace euro-euphoric chords to make this the best house tune....ever.

Andy Greenman: Discoethique / Rekid: Era (Microsolutions for Megaproblems) - 12" EP
You wait all year for Soul Jazz's techno offshoot to release a record and then two come along at once! Andy Greenman excels with beautifully intricate, wonderfully produced house. Occupying the same neon-lit night space as the Junior Boys; shifting, ambient drifts against close-to-the-ear rhythms, punctuated by rich sounding guitars and bass. The title track is immediate, whilst the ghost of New Order's Peter Hook haunts 'Sunday Kind of Love'. If Greenman explores journeys by night, then Rekid sounds like a summer city stroll. 'Tranzit' should soundtrack the opening few chapters of Delillo's 'Cosmopolis'. It's that good.

Basic Channel: Basic Reshape (Basic Channel) - 12"
Not gonna pretend that this is brand new, but still some copies floating around the London circuit, so grab it while you can. Read elsewhere for gushing praise, I'll leave you with with the equation of Carl Craig + Basic Channel = Sound of God.

The Missing Link: Screw Loose / Mathew Jonson: Marionette (Wagon Repair) - 12" EP
He doesn't stop does he? That could read as "I'm getting sick of him"....Having released more digital shpongle in one year than Derrick May has in his entire career, Jonson now decides to knock out more Jonson-like techno forever and ever on his new label, Wagon Repair. But don't all his records sound exactly alike? They're either incredibly poppy or disconcertingly trance-like. Having said that, he's still better than half the wannabe's out there. The problem with the 'Screw Loose' EP is that all the tracks contain ace moments, but they're not ace tunes. 'Marionette' fares better, which restricts itself to just one idea. The sequenced version is John Carpenter tension, whilst the live version is playdough house.

Bucci & Pink Elln: Badminton (Cynosure) - 12" EP
Mike Shannon's impressive but slack ode to minimalism (13 releases in 5 years) has communicated some amazing moments, namely Shannon's own adventures in click. Sophisticated is one word that springs to mind; all warm pads and softened drums. Raz Ohara's sultry vocals on 'Mavis 350' chopped up to suit their own needs, throw in some proto-r'n'b hooks and a jittery approach to house rhythms and you have another winner. Check Shannon's rework for meatier chunks.

Geoff White: Sex Cells / Geoff White & Sutekh: Network One / Geoff White: Keyframe (Edit) - 12"
Whilst I'm in the mood to big up artists' own labels, its the turn of Geoff White. He's made some life-long friends here in Cricklewood: his remix of his own 'Student Teacher' track that got released on Morris Audio Citysport (morphing jazz to a 4/4 swagger) and the 'Viscous Solid' long playa on Ghostly were the soundtracks to summer 2004. He's up to release six at the time of writing, but these first three 12"'s recently appeared on the London circuit and you'd be so bum as to miss them. They're all insanely great of course, the introductory 'Sexport Audio' off the first EP is a lambent, shimmering creation typical of White's craft. Teaming up with glitchking Sutekh results in a moody dub-ridden coda with 'Rain Delay' making my speaker-cones bounce more than anything else this month.

Wheels Instead of Hooves
Friday 4th March 2005
Electrowerkz, London, N1

Wheels are back! Where did they go? Erm, dunno. I guess they figured no-one else is gonna be brave enough to do IDM parties anymore. But tread the familiar, the comfortable, the cosy, the filth smeared interior that is the Electrowerkz. It's been a week since I went and I still stink of grime. Still, mustn't grumble like I'm a thirtysomething. Time to get down with the kids....

Artists reprazenting the Skam and Spezialmaterial labels occupy two floors, but it made no difference. The snatches of music heard from either room just reinforced the notion that the pixel thin thread of electronic music known as IDM hasn't really progressed since I last paid attention. Freeform might have been good fun....

Upstairs Ceephax Acid Crew WAS fun. His mix of acid, acid and more acid meant we had nowhere to go but squiggle. Even the girls were squealing with delight. Luke Vibert also knocked out meaty slabs of techno, his playback of the AFX 12"'s just reminded everyone that Richard D. James is still around. Musically and in the vicinity.

But despite the novelty of actually being at a club in 2005 and blankly greeting the same scenesters. I, along with a few other elders, are really here for B12. Having knocked out a collectible series of prototype detroit techno 12"'s on their own label and a couple of albums for Warp. They then promptly fucked off into obscurity. Some would say quite rightly so, as their last few releases stank.

So, here they are, two rather reluctant essex boys. crouched over their mammoth mixing desk. Teasing out aural relics; sounds and sequences from a time before DSP, plug-ins and other modern-day laptop shpongle. Except that it all goes nowhere fast. The futurist chrome landscapes evoked by their music still tingles with possibilities, but live they lack the compositional dexterity needed to sustain.

They built-up, broke down, muted/unmuted and looped to a largely indifferent me. The end of the set predictably emitted a crowd-pleaser from their back catalogue. Like duh, they should have done this all along: one off appearance? Just belt out the classics. A greatest hits set, anything but this.

A week later and I'm being treated to their magnificent track 'Obsessed' by Jon Soul Jazz over the shop's system. And the precision sequencing of ideas in those five minutes and forty-seven seconds outdoes anything I heard from that night. B12: deficient live, playback preferred.