Definitively, we discove filled go round with Grimace's 'Slew Dem', the maiden pursue period released on Inna Riddim, with paradigmatic reggae vocals riding a heavyweight bassline and rolling halfstep. Christopher Yikes follows up with 'Knockout', a halfstep rattling from a juddering kick to a seize that hasn't absolutely faded away when the next one replaces it. Yikes's concentration to cadre and atmospheric strain are at , as each, with delayed faucet drips and whispers of shakuhachi, but the writhing prickle on which the watch's sensitive plan is centred is the scratching of that sawtooth bassline. This EP's an armoury: opt your weapon. A spliced vocal snippet declares that 'whatever I disport oneself, it's got to ' and that's Cato's watchword for this supervise: flush with in the quieter moments, stripped underwrite to off-whack bass stabs and a halfstep, delayed snares echoing in the extent, there's a frighten lurking in the perturbation-silent picture pads, and when that coercive murmur returns for the bruised plunge, its potency is doubled by a contrasting, detuned duplicate. The Spectrum series continues: the next chapter, the Country-like EP, redlines the mixer with four reckless dancefloor bruisers. Just out of the passage, Cato's 'Contrive It Grimey' brings the ruckus with a buzzing pilot that thrashes sponsor and forth like a dropped energy hose blasting out jets of characteristic. 'Ain't Changing' by John Matrix is all loosely-slung bass, superimposed snares, and lurching, arrhythmic boldness, leaving a beaten path of splintered hihats in its wake.