B2 – Snoozin’ B – Jarvis [ZZZ2]

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Out of a short hibernation, Ba Dum Tish duo Alec Falconer and Harry Wills return for the sequel spin inside the ‘Snoozin’ B’ whip. The playful alias of the pair has allowed them to dabble breaks and UK bass territory, but their usual housey exploits are still on the menu. The ‘Still Snoozin’ EP drifts into the slip-stream with 4 bouncy weapons, ‘Some swingin’, some thumpin’, all groovin’ in their own words, and each one full-filling a marauding bass-bin attack in their own right.

A1, ‘The Denver Projections’ a juiced-up, late-nite skanker with a joyful spring in its step, fully inspired by that bumpy classic haus’ sound. It tells a tale of midnight escapades, fully fuelled with skippy drums and painted upon a hazy backdrop of enchanted synths and muzzy piano stabs. A proper feel good floor-filla’ that would make a very useful selection the warmest of tight spaces.

‘One For Jim’ (A2) is a sleazy after-burner, impossible not to imagine yourself bopping to this one in a cool plush setting, top-down and crusing through the city. Also exerting that dusty 90’s sound, OFJ has all of the ingredients of a true jazz-tinging scorcher: courtesy of it’s super-smooth bass, gliding organ melodies and superb use of some steamy saxophone playing.

The flip spins the sound of the EP on its axis. Unlike its feel-good neighbours, ‘ Tony On The Mount’ produces an uncompromisingly tuff’ hammer of bass and menace. Pouncing with a juggernaut presence, TOTM slaps hard with its thick reverberating bassline and crashing drums. The mix feels like it intentionally pushes the heavy low-end to the back, allowing the drums to thud like a dangerous individual lurking a short distance away, keeping you on your toes if the bass hasn’t already blown you off your feet.

Our bump and lastly, ‘Jarvis’ is the sneaky cut of the EP. A clear-cut bass workout from the duo that promises to crush any dance-floor with its brazen stride and sleazy attitude. Its down-trodden energy has full purpose to make it a steppa’ vibe and demands that the focus is just on the bass; chopping it and pumping it throughout the bassline in various ways like mad scientists blending some dangerous chemicals.

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