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A.M.C finally returns to his own Titan imprint and he’s wielding his heaviest weaponry. The thunderous ‘Southpaw’ EP is his first full release for the label since August 2013 – and his first solo EP since November 2012 – and it’s his largest ever body of work. And, as its boxing reference suggests, it’s going to cause serious knockouts throughout the summer.
Five tracks, each precision-penned during a near-constant life on the road, ‘Southpaw’ EP is a chance for A.M.C to showcase his true steel. Inspired by an endless blur of peak time international slots and major European festivals, he’s been sharpening his sinewy sound to the point of lethal weapon distinction. Brandishing a trademark sound that is very much his own, A.M.C’s strident signature has never been expressed with this amount of detail or drama before. Let battle commence…
‘Southpaw’ swings with a left hook, ducks, then pops back up and chins you with concrete knuckles. This one’s all about the tech insistency; pummelling bass punches hammer out a sense of drama over anvil like kicks as we hurtle head-first into the breakdown abyss. What follows on the second drop is, to put it simply, too rude to express in words. Be under no illusion: this is murderous.
‘Thor’ ignites with lightning licks of tightly clipped guttural bass stabs. Nodding deftly towards the Phace school of tech with just a smidgeon of neuro naughtiness, the bullet proof dynamics are brought together by ghostly pads that – rumour has it – were recorded right at the gates of Hades itself.
‘Die Hard’ follows. Opening with an outer-planetary salvo of pads, an obese groove drops from nowhere. Laced with an excitable middy fidgety riff that squiggles and scrapes its way over the bulbous bass with mischief, A.M.C paints a volatile picture that’s so versatile you can picture it working in the set of any D&B sub-genre.
‘Raging Bull’ takes off where ‘Die Hard’ left us… The name says it all: a droning bass scrapes the spectrum groaning and moaning back and forth over a loose swinging groove in a way that makes it hard not to make comparisons to the late 90s/early 2000s when the likes of BC and Ram Trilogy showed us how dark tech vibes could still be funky.
Finally we hit ‘Shade’. A fittingly firing finale, the Odin’s breath pads exhale heavily on the intro before we’re blown into yet another titanium bass-fuelled drop. With risers that sound like they were recorded off a 747 taking off and alien sound design hanging off every fill like an explosion on a sci-fi movie set, his stark, dark message is loud and clear: this the first of a long line of uncompromising A.M.C EPs as he guides us into the dark unknown of the future….