The plastic, Perfecto Pigbag fanfares throughout Jookie could so easily have gone down the pan, but thankfully they’re turned into a peppy set of pipes by Foamo’s lurking bassline that wretches and wallows like an upset stomach doing slow somersaults. Which means you’ll have happy revellers doing their air horns thing while having their backsides kicked by a High Wycombe bottom end tutting petulantly, and the bass drop is sure to be one of those piling onto your mates moments. As energetic party house shows a fidgety underbelly to produce a kind of speed garage samba, keep an eye out for this being one of the best examples of how to really utilise a carnival float sound system.
Using repeat carnival tactics –horns, whistles, bass drums lapping up the sunshine – and a flat track bully of a bass that punches straighter into the mush of a B-more stop and go, Centavo is another that joins the celebrations with a face like a wet weekend. Forget joining hands, this boy wants to push and shove his way into trouble. Again Mr Gibbon is unnerved by the use of synthetic flourishes, because he can pull them away from flimsy trouble by the power of what he has lying in wait down below. You may accuse both of possessing a certain crudeness, though you can’t deny Foamo knowing how to go for the jugular, and he’ll please a lot of folk as a result.