Peter O’Grady on acid? It’s not an impossible wet dream but a fact, materialised on this piece of vinyl in epic proportions. In the constant evolution towards a kind of house with a more thumping rhythm and much more crude texture –further and further away from his initial dubstep-related sound– Joy Orbison hasn’t only changed his name to the interesting and graphically attractive Joy O, he has also been forgetting about the breakbeat and focussing more on the 4x4, and deforming the sparks of obscurity into bursts of clubbing darkness. His music is no longer the music to watch the sun rise, but for prime time. “Jels” doesn’t deceive with its fury: its spinal column is an acid bassline and its ribs are some martially repetitive beats: if the track were faster it could resemble something by Emmanuel Top, and if it were longer and more chaotic, it could be his “Acid Trax” (Phuture).
“Wade In” is no joke, either, and it shouldn’t be taken lightly: the percussion becomes metallic, the 4x4 is loud, and when the ethereal synths come around it’s to instil a feeling of uncomfortable tension that would be unbearable had there not been congas, metal percussion and other old school Chicago sounds (filtered via London) in the background. With one single 12”, Joy O has confirmed what could already be sensed on his last release on his own label, Doldrums, “BB / Ladywell”: that he’s already on the road from hype to future classic and that it’s only a matter of time before he gets there.