Joy Orbison decided that it would be a good idea to keep quiet for a few months after the post- “Hyph Mngo” media avalanche, and so he did. This 12” is the first release since March –the single “The Shrew Would Have Cushioned The Blow” on Aus Music, if we don’t count that remix of “I Might Be” ( Todd Edwards)–, and after a holiday during which he reconstructed his recording studio and did some DJ sets, here are the first new sounds from the man who revolutionised dubstep and turned it into future garage. First reaction: surprise. It was no secret that Peter O'Grady likes house a lot, but he has never sounded so American and spiritual before, not even on his first release on his own Doldrums label –the excellent 12” “J.Doe / BRKLN CLLN”. Instead of bass lines and breaks we get kick drums and extremely deep ambient sound palettes, synth lines a la Model 500 and sensual male vocals a la old school New Jersey garage. It doesn’t sound like a record from London, although the traces of the first Joy Orbison remain, logically: the liquid passion, the incandescent sound like gold at its melting point, but it could also be a Kyle Hall production from the Motor City or a release by some new producer from New York. The difference between “BB” and “Ladywell” is that the B-side sounds more black, classic and overjoyed, has the elegant touch of Carl Craig and the Edwards-style crumbled voices (albeit without the rhythmic syncopation). Judging from the latest Doldrums releases –the third is by Braiden, with a remix by Kassem Mosse–, the new line seems clear: Joy Orbison’s heart is big as ever, but now it’s a Trans-Atlantic one, pumping house blood as pure as Larry Heard’s. In favour!