The first untitled piece revolves around a thick, somewhat stationary, low-mid frequency fizzing, and the more active crackle that dances over the top of it. The fizz is clearly coupled to the bass beneath it, and nearly smothers it. In contrast to this, the dancing layer is a more delicate, defined sound, a dry crackle that is tremendously engaging in terms of sound and movement. Inside the wall, there’s also a nice layer of texture that percussively taps out a resonant note, almost creating a tonal element.

If the first piece was quite restrained and inviting, the second is truly an irritant. From the off, the wall is dirty, fast, and aggressive. The assault is dominated by a speeding scuffing, that jumps in and out of the wall. At points, it even breaks open into plain wash - a really nice effect. Throughout all of this, a hard, hard bass drills away, almost tipping over into that really tight, dry, bass texture that I’m not a great fan of - but it doesn’t. It really is an impressively abrasive wall - all rusted metals and whirling knives.

It’s always great to discover something new, and my first exposure to Bee Spit has been a superb one. The first track is good - and I do mean good, it’s a very solid, very engaging piece of work. However, the second track is pure class, in the nastiest, rustiest, most blood-soaked way. They both add up to make a very recommendable tape indeed.