- Sometimes all you need is a good bassline. Huxley knows this well, and it's beginning to seem like he can write them in his sleep. "Let It Go"—built around low-end that could drive a pop song—ignited his success last year, and now the man from Tring returns to Hypercolour for the first time since that single. Here he aligns himself with the jaunty low-end of Dirtybird, emphasizing his willingness to be playful amidst the UK's current wave of deep house. Neither track is terribly original, but both ooze with his personality: jumpy, hyper and incapable of staying still.
But, in a way, they don't offer much else. A-side "Bellywedge" has trouble finding its path, with passages that feel awkwardly disparate in mood, held together only by the track's low-end. Unfortunately, the vocal never quite clicks, sounding pasted on, even off-key. Further displaying his UK mongrel pedigree, "Little Things" minces classic hardcore rave synths with US garage-style organ riffs, adding a little something extra to the well-overused '90s house template. It's the more convincing of the two, but still feels derivative. Maybe you do need more than just a good bassline.
B Little Things