VARIOUS PRODUCTION EXCLUSIVE

We remixed some artists and got some of our favourite remixes to do the same for our tracks, this collection is the result.

This EP starts with Wot U Say, finding our hosts working through a long-held obsession with Django Reinhardt , while introducing a distinctive new female voice to their fold. Possessed of an alchemical quality that marks it out as uniquely Various, the tune’s (“real”) spanish guitar and rusty ale-house piano rattle across a game junkyard jazz shuffle, as a smartly crafted lyric administers an iron-fist-in-velvet-glove beatdown to all the vapid mini-Allens who insist upon getting in the way of better things.

Maskman is a banging dub-charged marriage of VP’s trademark claustrophobia with a punkoid lyrical hook that could well be their most insistent to date. Tracing a line from dubstep’s rushing sub-bass physicality to the equally visceral thrill of howling dirtrock vocals, Maskman nails the harder-edged sound they have been developing in their many notable live shows of the last year, while keeping faith with punk’s time-zero credo as the uncredited singer intones a looped assertion that “the future’s now for you and me”.
This is the acid seeping from dance culture’s recklessly abandoned batteries, corroding deep below the surface, staining indelibly wherever it spreads.

As XTC so emphatically exclaimed, ‘This Is Pop!. The future may be now for you and me, but Various Production were there first.’

Wot u say / Live version
[Watch the video]

Resident Advisor review:

“On ‘Diver’, the duo dispense with the folk and downbeat leanings of their back catalogue to make a track built for a big sound system. The percussive force is hard-edged, while the one note riff and deep analogue synthline are simply menacing. Something akin to an angry Redshape track, this is a dancefloor destroying 4/4 beast with a hint of old school rave to it.

Flipping over, ‘Pintman’ also kicks off in a threatening fashion with a bombastic analogue fill and a well-placed MIA sample. More IDM than 4/4, it’s good, but somehow feels cluttered after the purity of Diver.

These tracks originally featured on the 12” packaged on the limited edition ‘MISC001’ pack, and its an absolute joy to finally have these precious, sick tracks available for public consumption once again.

Recommended by Pitchfork / 8,5

Pitchfork review – Jess Harvell:

“For about four years I’ve been looking for someone to validate the promise of dubstep, underneath all the fan rhetoric and half-awesome records. In The World Is Gone, I’ve finally found it. Admittedly this is like saying you’ve been looking for a record to validate the promise you hear in hip-hop and found in it Endtroducing. But hey, you can’t pick your friends.

Dubstep, if you don’t read Martin Clark’s “Month In” column or have an unhealthy addiction to British online record stores, is an offshoot of UK garage that, as the name might imply, foregrounds the bass—really foregrounds the bass. So much so that a lot of dubstep records, great as they are, are useless on your iPod. And while this year has seen a slate of dubstep albums- Burial, Boxcutter, Kode9 – that you and your cat can enjoy while doing the dishes in your studio apartment, The World Is Gone tops them all. This is mostly because it pushes the genre out of the club’s doors and as far from the dancefloor as possible while still being, you know, dubstep. (Though some fans might argue that it’s not. They can tell it to the marines. Or whatever the British equivalent of marines are.”[Read more]