David Harrow and Hugo Nicolson are both celebrated, veteran producers. They are also old friends. Harrow first found fame in the early 1980s working with the post-punk poet, Anne Clark. Collaborating on huge, global hits such as 'Sleeper In Metropolis' and 'Our Darkness'. Tunes that were heavily rotated in the nightclubs of Detroit and Chicago, and would go on to influence the development of house and techno.

Nicolson started his career in the late '80s as a tape op, at London's Townhouse Studios. Finding his feet programming and engineering for Julian Cope and on Happy Mondays' zeitgeist-grabbing 'Rave On'. Tracks from that E.P. were remixed for dance floors by 'Balearic Beat' DJs Terry Farley, Paul Oakenfold and Andrew Weatherall, and it was with Weatherall that Nicolson made his biggest musical mark. 'Ably assisting' the DJ on a series of wildly inventive remixes and co-producing Primal Scream's Mercury Music Prize winning album, 'Screamadelica'.

Harrow too was a mate of Weatherall's. The two teamed up for 12's as Blood Sugar and Deanne Day, and Harrow licensed LPs of trance, under the alias Technova, to Weatherall's labels, Sabres Of Paradise and Emissions Audio Output. The Harrow-Nicolson connection, however, goes back further. Both spent some time with the ground-breaking dub imprint On-U Sound. Harrow contributed to the label's catalogue throughout the '90s and toured as a member of Dub Syndicate. In 1990 he and Nicolson engineered and programmed on African Head Charge's 'Songs Of Praise'. The pair later, coincidently, during the 2000s, both ended up in L.A. - Harrow still lives there - but 'Revolvalution' is their first joint release.

In its original mix the track is a tearaway shot of sampledelia. Frenetic, frantic, full of sped-up fractured vocal fragments and shooting star sound effects. Riding racing snares and busy, buzzing arpeggios. Like Giorgio Morroder on Heisenberg's blue meth. Peppered, fizzing and popping with prancing pretty chimes, party shouts, laser blasts and trippy glissandi, it breaks down for a brief breather before banging into a galloping TB-303 groove. Harrow hands over two additional mixes, the first of which is heavier, harder and more strongly acidic. A pumping, pounding piece of progressive house, high hats hammering out its rigid 4 / 4. The second is a stripped down, filtered dub, with a ringing melody / circuitry and rhythm that rushes toward you like an express train.

Regular creative co-conspirators Rude Audio and Dan Wainwright also rock up with a couple of reworks. One is all dubwise rattles and ricochets, seismic subs and sedated beats. Whipping up a wicked psychedelic whirlpool of sound. Four minutes in it runs into a raga rock guitar / electric sitar solo, before showers of SFX start it skanking again. Strange, deranged, and with an oddly serene finale, it's a bit of a 'journey'. Listen closely and you might hear a loon bird. Their 'VIP' version slings a slow, slack breakbeat about like seriously stoned instrumental hip hop. Sections play backwards, reel-to-reels spin out of control, and altered state gates get applied. Mad delay washes everything. Imagine Mo Wax / UNKLE at their most blasted / baked. New York's cool Khromozomes or Japan's Natural Calamity. Increasingly mind-bending and heady, it's even more of a trip. Both remixes share a cracking lack of concern for convention that rivals the late, great Mike Kandel's Tranquility Bass.

Rory Natkiel and Joe Moran aka Rule Six round off the package with dynamite disco-dub. Boasting a quality kick, slapped post-punk b-line, and an expanse of echo, their take shakes like Francois Kevorkian manhandling industrial fruggers such as 400 Blows or Chakk. Betraying their own Weatherall / A Love From Outer Space affiliations with fractal flickers reminiscent of Sabres Of Paradise's remix of Throbbing Gristle's 'United'.
Copy by Dr Rob @ Ban Ban Ton Ton