London producer T. Williams was never contempt with playing by the rules or following one particular style. The result has been a series of releases spanning several different genres, such as deep house, UK funky and dubstep, masterfully blended in true T. Williams style to create a unique vision of the British bass music phenomenon. His Enchufada debut ‘Getting Mine’ was a prime example of his ability to manipulate intricate and crazy drums, overwhelming basslines and spaced-out synths, creating hard-hitting dancefloor bombs like few others. Now a year has passed and he’s back with some of his most diverse and interesting material yet, confidently exploring the grey areas between the many different sounds pumping out of the best London nightclubs, fully equipped with a license to kill the dancefloor.
The first track 30 Degree starts off sounding harmless enough but with T. Williams pushing the buttons you know it’s all an elaborate ruse. Locking in a dubstep-informed minimalist vibe, it’s only a matter of time before the drums start rolling and this party-starting gem unfolds. Finding a sweet spot somewhere between the percussive might of UK funky and that kicked-back garage vibe, this one is sure to be a DJ favorite this coming winter.
The title track Can We is really something else. Heavy on the hypnotic vibe, T. Williams show us how much he loves messing with the dancefloor by looping Terri Walker’s vocal samples on top of an unforgiving drum beat, making the listener beg for that massive drop. And what can we say about that huge growling bassline that was clearly built for punishment? “Sorry for all the destroyed speakers” definitely comes to mind.
Synthia follows up with an agile drum & bass inspired beat while the Londoner’s trademark toxic synths slowly drive the crowd to a frenzy. This one bridges the gap between the early jungle warehouse raves with the modern “everything goes” club mentality that is sure to strike a chord with the raver inside us.
Back to T. Williams’ own brand of UK funky flavored madness, Malfunction is a peak-time dancefloor bomb which blasts snares and fat rugged bass like there’s no tomorrow. The soulful vocal sample offers a nice contrast between that sweaty and schizophrenic party vibe, so effortlessly created by the wicked drum pattern. This one comes in two flavors, with the Club Mix focusing on the percussive side of things, and the Radio Mix letting that sweet acapella work its magic.
To wrap things up in style, Zoop offers a deliciously evil dubstep-leaning tune, with such a mesmerizing synth and bass combination that we wouldn’t be surprised to see people doing the Thriller choreography next time this one drops in the club. As the beat bumps and the bass slowly wobbles its way through the speakers, this one is sure to appeal to the half-step heads as well as the fans of the more clubby side of bass music.
This brand new EP brings us a very inspired T. Williams, effortlessly demonstrating why he’s one of the most hotly tipped London producers around. Heavy on the beat and always keeping the dancefloor needs in mind, he also has a keen ear for melody and subtlety, as well as an extensive knowledge of the constantly mutating electronic dance music culture in its many shapes and forms, bringing all these different elements together to create an exciting club experience. ‘Can We’ is a bold step forward and we seriously urge you to play this as loud as you can.
released March 26, 2013
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