Covering an almighty dust-up involving the continued buzzing of a dive-bombing army of fighter pilot bees messing with the King Kong of zip attacks, here’s a large, metallic banger full of bristles, misshapen horns and clanging tumbles in a five-minute bout of electro-or-otherwise wrestling. It’s the A to the H giving it their usual big’un from their back-slapped Sex Drugs & Blah Blah Blah LP. Though the vocal’s rudimentarily bland, it does pose a valid question as to whether it’s electro, breaks or a buzzword in the making. Anyway, it isn’t fitted with the standard number of cylinders, meaning it’s firing on all of its own and then some.
It’s not unfair to say that the Hooligan boys are overshadowed by their chosen remixer, who stretches their genre argument as only he knows how. To fire the track out of its starting blocks a little quicker, Rico Tubbs, Finland’s mad day-glo-clad scientist, is called up to show how he gets by on prescriptions of ‘92 hardcore (check out his stock of drum breaks and strobe-coated chords beamed from fuzzy pirate radio!), Temporarily abandoning his own European take of the B-more hustle and going for a bit of a balls-out bassline squelch on his first mix (being a known speed garage fan), Tubbs is armed and dangerous with his usual oversized, "can-he-sample-that?" powder keg of energy that doesn’t forget to turn the dancefloor into a gurner-friendly trampoline.
As well making a hobby out of going on the run from strict categorisation, Tubbs still finds the used-to-death James Brown/Rob Base & EZ Rock chop-ups inspirational, which anchor his follow-up Rave mix. Again, RT veers wildly towards rough-wobbling bassline sounds mixed with white-gloved intervals of 3am warehouse rushing. Could Tubbsy hack it with a dedicated move into bassline country? Don’t totally discount it, as his synths hooked up to a bass tube, particularly on the latter mix, would snugly fit into any recent Cameo or Wideboys mix compilation.