Bax is back. First released in 2011, Mosca’s UKG homage, ‘Bax’, did big things when it landed. Almost 10 years on, it’s time for a repress.

Though Mosca missed the golden era of garage in the nineties, he caught on to darkside pioneers such as Horsepower Productions, Benny Ill and El-B later on. A blend of homegrown British styles lies at the core of his electronic music influences, early dubstep, jungle, minimal grime and bassline, which he’d experienced first-hand at Sheffield’s legendary Niche club. (Little known fact: The name Bax is a partial nod to Steve Baxendale, the man behind Niche).

All these elements coalesced in the studio and the two-tracker materialised in a couple of days. Both sides of the record do their thing on the floor; ‘Bax’ with its now infamous ‘My DJ is live in the place’ sample, that earworm melody and a ruffneck b-line.

On the flip ‘Done Me Wrong’ sees Mosca incorporate several key garage tropes; the bassline swinging alongside soulful vocals (which get sliced and diced), not forgetting that cheeky rewind.

My DJ is back in the place... More

Delving deep in to his dub chamber, Mosca delivers a pair of upfront rhythms for Livity Sound. 'Don't Take..' hits hard, it's whiplash groove fine tuned for maximum dance floor impact. By contrast 'Peyote Stitch' takes a deeper approach, it's hazy spectral visions sat atop low slung drums in trademark Mosca style.
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In Mosca's own words, this release embodies "melting Miami, Rio, a field just outside the M25 and The Bronx into modern-day London." More

Mosca drops some killers on Ann Aimee!! Fine work!


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he next release on Hypercolour is a rather large one that has been pursued for a while: an EP from multi-genre explorer, 3024/Numbers alumni and all round badman Tom Reid aka Mosca. Across four tracks and one digital bonus, the pioneering producer offers up his own unique view of house music.
Somewhat appropriating his game to fit with the utterly modern club vibes of Hypercolour, opening track ?Eva Mendes? is a bouncy house track through and through. It?s a fulsome, cantering arrangement peppered with typically well designed hits, a subtle breakdown and plenty of neon colour come the second half? classy floor filling business, to be sure. Next track ?Accidentally? has legendary house vocalist Robert Owens contributing a sometimes
dark, sometimes more sensuous spoken word monologue to Mosca?s glitchy, warehouse styled beats and bubbling, scattered synth work: it?s muscular in make up but human in spirit and you also get a voiceless dub version on the digi release. More

Very limited, hand stamped vinyl release of Julio Bashmore & Swing Ting remixes of Mosca’s “Tilt Shift”. Julio Bashmore ups the tempo, warming the track whilst adding extra subs. With clever twists & frills he brings the track into new areas in a typically understated fashion. Swing Ting are DJs Samrai & Platt, so called after their club of the same name which is one of Manchetser’s most forward thinking underground monthly gatherings. They provide an instantly effective blend of grime, garage & bassline with both their vocal & dub versions. Their remixes display their deep understanding of these styles. With the vocal version they cooly chop the rhythms into a ruff dance floor workout while the dub takes things deeper & dreadier, finding natural space in the groove & rocking a pure sound system rinse out. Support has come from all over including Marcus Nasty, Mosca, Wifey Crew & Simbad More

New sounds from an old friend... I'd been running Franklin De Costa's records for years, but after I played for his party in Berlin a few years back we kept in touch. He runs a club night called Mother's Finest which puts on artists like Tessela, Truss, Untold, DJ Fett Burger and more, as well as releasing singles under his own name on labels like Killekill and Curle, and, as Mudkid, beautiful tracks on Greta Cottage Workshop. The three trax built for this EP on Not So Much are, like anything fresh and futuristic, hard to pin down in words. SSSooo is a kind of detuned chattering b-boy cut that slides sideways between dimensions while always driving forward. MLDK is another one for any dancers with moves. It's tension-heavy, dubby basement shit with an almost spoken/sung synth line providing the dread and at the same time, a sense of class. Both MDLK and SSSooo have a playful side too, a knowing kind of sultriness, if that makes sense - but the rhythms are tight and efficient. Purple Train on the other hand is loose as anything, and ramps up the narcotic sexiness in a groove for afterhours sessions. I don't want to describe it as sex, drugs and rollers, but this is kind of writing itself. With this one, the dub is wise, the time is forgotten and the wrongness is righteous. FDC is the second outside artist (after Samuel/Ploy) to release on the label, and I'm really happy that the family is finally growing - all the waiting and all the declined demos have paid off. There are more releases from more artists in the pipeline, some you'll have heard of, and some fresh blood too. Thanks for reading and listening! Mosca More

In Mosca's own words, this release embodies "melting Miami, Rio, a field just outside the M25 and The Bronx into modern-day London." More

Two productions for today's dancefloors from Samuel. These are rough and rugged club tracks built from hardened rubber, with plenty of rhythm and a melancholy edge, and they don't sound like anything else. This is the first time I've released another artist's music on Not So Much and honestly, I can't think of a better way of doing it. I'm very proud and very excited. Thanks for reading and listening, Mos. More