Mak & Pasteman - Again - (Original)_(Clip) by Shifting Peaks published on 2014-01-07T11:36:25Z Another year comes crashing into view, and another instalment in the Nasty Rips and Shifting Peaks series is upon us, as ever looking to bring together a mix of new, up and coming and established names, via a chaotic miasma of styles and tempo’s . There’s a bunch of yet-to-be released material from the new/up and comers : Turin producer Smokefade opens proceedings with a luxuriantly drawn out future bass affair, stretching a meditative melody across punchy, broken beats and solid slivers of audio static. Reagan Grey pops up twice, adding her Canadian garage-bump to Hackman’s OG S Peaks debut ‘Always’, before unveiling a more Detroity side to her sound with the synthy floor filler ‘Not Afraid’. North London newcomer CLNBRK manages the unlikely task of combining a rolling house groove, fizzing breaks and a late appearance from a classic sounding hardcore riff on WUT, before showing up again as half of King of Arabs, who’s ‘Bored in the City’ gets reshaped by the fast rising Matrixxman into a slow burning hypno houser. Bristol bod Inca Pax summons up some West Country wonkiness on the glitchy 4-4 lead ‘Crash’ . Russians, Cubans and South Africans smashing up grime, Cubaton, trap, juke and neo-hardcore sounds like the result of an explosion in a Cold War RSS feed on paper, but the results on Pixelord/Mo Laudi’s ‘Drinky’ and Jessel/Nphonix ‘Los Ministeros’ respectively make a lot of dancefloor sense to anyone looking beyond the UK/US’s imperialist cultural hegemony. Of the established names, HNNY’s artful balearo-garage mix of Sly One’s ‘Come to Mine’ has been making waves since last summer, as has Om Units’ half stepping dub workover of Nphonix’ Reach Out. Ossies’ fat and housey mix of Odessa’s ‘Get Right’ was a grower, and Applebottom’s piano-laced mix of DE$IGNATEDS’ ‘Valentine’ has been a secret party weapon for many over the last 6 months. Last / not least, we included Mak and Pastemans’ ‘Again’ from their 2012 EP, as we realised we hadn’t used it on a comp yet, and it ( unsurprisingly ) sounds as good now as it did then. Over and out.