Banana Stand Sound is back after the success of OH91’s debut release, which began doing the rounds in dances and festivals (including being dropped by Kahn & Neek at Outlook). This is a generous release featuring four tracks, with two being pressed to vinyl and two being released digitally.
The A-side begins with “Fever Skank VIP” by Six Sunsets, a duo hailing from London and Cornwall respectively (with Jake also running the Shitty Dubstep events now popping up on the London circuit, as some readers may or may not know). The tune begins with brooding, ominous pads, sparsely garnished with a ghostly, dubbed-out snare, before a tuff vox sample announces itself as though speaking from the depths of Trenchtown. As the eerie, weighty crux of the track unfolds, we are greeted by tingling percussion that oscillates and vacillates with algorithmic precision, amassing itself in a barrage of crawling insectoid stabs. Meanwhile, the sub-driven frequencies undercutting the drop sit comfortably in the background and guide the groove of the rhythm with satisfying depth; as the tune progresses, the audience is hit with a salvo of wobbly syncopation – indeed, the tune struck me as a track that would mix perfectly into the similarly dark belter from the days of Eddie K and Minus (think ‘Dark Ages’ feat. Beezy. Try that mix, no need to thank me). This is a sterling release from the Six Sunsets gang and another to add to their growing repertoire of crispy bangers.
The B-side sees a remix of ADP’s “Horsemouth” from Canadian newcomer Fill Spectre, who adds his own twist to ADP’s gutter riddim. The track is layered with heavy percussive stabs that tremolo in discordant harmony with the track’s off-kilter half step rhythm; it’s a busy track, with many sounds competing for centre stage in the mix, and one that would likely be difficult to seamlessly mix into a set without a standalone melody or non-percussive bridge. Nonetheless, this is a rip-roaring, fun track that reaches an impressive level of ‘don’t give a fuck’, reminiscent of the old Bukez Finezt days, a track whose purpose is almost more to offend the ears, whilst inducing a customary screwface from any crowd lucky (or unlucky) enough to be belted with it on a large enough system.
As part of this release, there are also two tracks up for digital release, both created by ADP. The first of the two is currently untitled, interestingly enough, as it is certainly one of the standout tunes on the release. A dank-as-420 synth emerges to introduce the song with grandiose symphonic style, working in cahoots with crisp, punctual hi-hats and clinical claps to unleash the imminent body of the tune. The essential elements of the track are conventional of that tribal roller style; sonic klaxons cascading over a huge, thumping kick, with organic-sounding drums also gushing with the flair of any avid hand-percussionist. The style is not dissimilar from SP:MC’s “Airlock” and is sure to be favoured by purveyors of such signature styles, (a’la Youngsta).
The final track is also crafted by ADP, aptly named “Warlock”, the melody of the introductory synth speaks of the necromancy to follow; some exciting, if a little conventional, warbles have been alchemised in this electronic laboratory to work with some very novel, well-engineered sounds that echo and reverberate throughout the rest of the song’s infrastructure. The percussion feels a little flat and could perhaps do a lot more to fill out the rest of the song, perhaps by sitting more prominently in the mix or being fattened a little, but otherwise it’s certainly an interesting journey that we are taken on.