When discussing contemporary UK dance music whose musical DNA stretches back to dubstep, there is a camp that has been arguing passionately since the wonky era that "the shock of the new" has been lost, leaving us with rote techno with a bit of bass weight to 'make it British.' In the 2010 Wire Rewind, nuum soldier Lisa Blanning wrote in describing the then-ascendant Night Slugs label and sound of the early 10s post-dubstep clubscape, "It's a mixture, instead of a synthesis, of so many existing club forms." Look, if I've learned anything about British music journalism up through 2012, it's that they rabidly intellectualized the latest sound and scene before moving onto the next big thing. Also, I fucking loathe Hegel and I'll leave it at that.
Looking back and beyond the nuances of mixtures and syntheses, what Night Slugs did for the post-dubstep vista was to inject even more heterogeneity into the music that was already branching off into new directions via both rote and inspired experimentation with UK Funky. Genre-hopping while remaining eternally bathed in a neon glow. Trap, bmore, house, techno, grime, electro, UKG,; these were all deployed with a largely synthetic and melodic sonic signature. Oh, and there was Classical Curves, an album that now seems to have heavily informed the deconstructed club bullshit that went nowhere soon after, though it also likely had come in contact with the Grime 2.0 contingent, particularly the Weightless set.
I wasn't particularly concerned when Facta first popped up in 2013, though he is a producer I've come to admire though both his music and work with K-Lone behind the blossoming Wisdom Teeth label. Still, if you're gonna make the techno argument, he and Hodge are easy targets and "Montpelier" an easy fit for the techno branding. But like so much from this period, the focus on atmosphere with its sparse, ironed-out dub chord stab that sound like the ghosts of Basic Channels past is what makes it so memorable, especially when paired with a driving beat whose woodblock makes it indelibly UKG-informed. It also boasts an early dubstep/dark garage throbbing bass line just in case anyone was questioning its creator's nationality. Oh, and there's a looped bit of chatter that kinda takes away from the generally vibey quality. Still, it's a tellingly auspicious start and a smartly conceived broken roller for a producer whose love for techno and slippery productions make him an increasingly compelling figure. He seems like a patient dude. Patient people are my people.