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The minimalism and intensity of Jersey Club music remains a huge influence on the whole Night Slugs camp, and while Jersey’s impact can be felt across the CC series, Jam City channels those devastating ghostly kick drums like none other.

Continuing on from where he left off with club favourites “The Courts” the “How We Relate To The Body”, Jam drops 5 lean and intense drum workouts build from scrap metal and primed for warehouse use. They move between thudding midrange persistence and just-sub-and-air minimalism, framed by jammed drum machine rhythms and splashes of re-sampled colour.

Jam decorates these sturdy and well-deployed undercarriages with silvery detail, percussion fragments, broken talkboxes, whispered vox and simple, beautiful chords.

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While G.U. continues to exist in a bright digital universe that stretches beyond the dancefloor, Hysterics lives in the club. Hysterics tracks are reductions of visceral percussion and bass that connect with our basic instincts.

The three cuts on this volume are the result of an experimental production processes, incorporating tape feedback, raw drums punched in manually and percussive parts that are allowed to take unusual lead roles.

The resulting recordings are intricate but highly robust rhythm trax – the oppressive EBM-tech of “Pleasuredrome” juxtaposed with a show-stopping DJ tool in “Code Switch”. The tracks sound like heavy industry: pistons, valves and and exhausts pumping and hissing, hammers pounding.

But as machines they are not self-powered – the sound of human exertion is ever present: heavy breathing and gasps as each track is operated manually, man intersecting with machine in a collision of steam and sweat.

Club Constructions is a series focussing on rhythm tracks, wild DJ tools and stripped down music made directly for the floor.

Taking a strong influence from the into-infinity a/b switch of 8 bar grime, “Whoosh Ice Dispenser” is a dense and turbulent drum workout, riding out on top of massive pitched 808 subs. Unexpected respite comes half way through in the way of a single but wholly transformative chord, a rare moment of human emotion for Club Constructions, but certainly restrained enough to fit the bill.
“Track Titled 1″ is a club tool of epic proportions – Jersey kicks patterns paired with one single chord stab are pretty much the only ingredients here, but Helix’ flanger does all the work, driving ever upwards with G6 intensity.
“Linn Jam” is the ultimate Club Construction, as pure as L-Vis’ first installment, comprised entirely of pulverising Linndrum blastbeats (think metal drumming). In typically irreverent fashion Helix uses this as a skeleton for a trancey, submerged arpeggiator workout on “Linn Jam w/ Synth”.
First premiered in Bok Bok’s NSMIX, “Damnson” closes the EP on a note of cavernous, hard, club-banging techno. All tracks except “Whoosh Ice Dispencer” were mixed with love by Bok Bok.

Now “Bring In The Katz” isn’t an old track, so why are we re-releasing it so soon? Because it’s been the biggest dancefloor bomb in our sets for months and we feel it deserves attention far beyond its native Baltimore Club scene.

A few words about the track itself – a “Think” break and big 808 kicks are a staple of the genre and they’re deployed here with precision. MC PORK CHOP commentates on the track’s structure, calling on KW GRIFF to “Bring In The Katz”, referring to a quintessential scat sample from the proto-Ballroom classic “Din Da Da” by Kevin Aviance.  Once those “katz” drop get ready for the walls to cave in.

On the flip is L-VIS 1990′s dub . Stripping out the break and most of the vocals and focussing in on the hyper-rhythmic scat stab of the original, L-Vis pushed the skeletal leftovers of the track into overdrive. A simple but a dramatic transformation that results in the most streamlined and effective pieces of club music we’ve heard in forever.