Fuckin’A! scruffy, swollen-quirk, idiosyncratic mischief-studded ratty & erratic Breakcore prime from some obscure quiet-pioneer who was gone in a flash (probably a guy called Tom Everson if I am not off the trove entirely?!). Actually, this is one of my favorite Breakcore LP’s from the pantry (toe-curled in 2003). It’s very frivolous, playful & scatter-brained with a kind of cobbled, stapled & sawn, skip-rummaged “I don’t give a fuck if this sounds like junk” comportment, & yet, underneath the garbage bags is a keen adeptness yanking the strings. The lads obviously got a kink for distortion….shits teaming with heteromorphic varieties heaped on heavy. It’s all “clean” distortion also, as in, – it’s not peaking in volume so you can hear exactly how the barbs bristle giving it maximum multifaceted medley/abrasion. Slop-in a load of ridiculous & random samples & badly bandaged bass & this delicious, choppy jamboree of hyper-active dredged gunge starts spinning into a field all of it’s own. You could tell this guy’s cut from a mile off, it’s really distinctive in style & sound with the samples also being a dead-give-away. 2003 (& below) was still a great era for Breakcore, which had yet to slip into the springe of burn-out/oversaturation/commercialization that befalls everything that was once excellent & now gnaws rectum. The software & technology was much more basic as well, which meant more labour/effort & ergo more personalization. & slammers like Not As Crazy As You Are, Pig Adrenaline, The Right Hand Side Of My Brain & Dedo are really the cream of the crotch for vintage Breakcore, Glitch, squalid Drum & Bass to my ears. The label, Peace-Off, was one of the foremost in Glitch & Breakcore, a mantle it would maintain onto about 2007 before they seemed to implode with the conceit of their own success & started knocking out an ever atrophying (beside the odd release) series of sub-par to shit releases that seemed to be completely exhausted of ideas or quality control (no idea if they ever won their strut back? as I gave up on them after a spate of really piss-poor LP’s). The geezer that owned the label, Frank Switch, has accrued a reputation for being a bit of an arsehole! I can’t verify anybody else’s accounts, but having dealt with him personally years ago, I will say with all sincerity that this guy was one of the biggest pricks I have ever experienced in any kind of musical field! However, the label definitely put out some serious whoppers early on & D’Kats cameo was, & still is, for me one of the greatest moments. Ripping, distorted smash n’ blab!