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Crikey. Scorb and NRS decide to get together and, instead of calling the project Chummy Folk Singers In Real Ale Cardigans, opt for Rampant Angry Men. This particular vibe is well-served at the moment; crunchy, deep music seems to be where we could be at this winter, and about Israeli time Israeli too. Hash Brown crashes in like a rampant bishop on buy-one-get-one-free altar choirboy day, and Coming Back takes a harsh and grating bottomend, with layers across the top piling on perfectly. A lot of this album works like a more energetic x-dream, with that total energy that picks y’up by the scrotum and flings you at the wall. Retard is a good case in point: utterly delectable – picks up, drops in with some amazing looped vocals that sound like I might be hallucinating them (and this isn’t even on a big rig)… Onion Rings opens with a pleasant vibe which it squeezes in a vice of hard kick and rolling bass, holding back on the violence, before Beer Nuts’ caustic and whirling mentalness. Just where do they get this energy from? One suspects they’re angry about something other than tottenham’s weak start to the season. Deadly Nightshade is unbelievably phat, with a capital pee aitch. There’s technoid perfectionism here that would make hawtin blush, and once again their little production special-moves add another dimension – noises float around you, delayed kicks throw you off, atmosphere builds seemingly of itself. Dream Catcher is an utter belter. A Halloween-meets-Jean-Michel-Jarre intro gives way to a shifting, deep rhythm section which drives it along into a truly classic and loveable stompathon. Class. Sausage & mashup is more of the same, and with Ram Dub they close things in more of less the same way that a lot of albums chucking in “the slow one” at the end do, perhaps a throwback to the days when disco’s finished with Spandau Ballet’s True, or maybe not. Digressions aside, this is great. Fast, furious, and fully psychedelic.