BFTT – Versioning
Record Label, Est 2010
gobstopper records, grime, electronic, mr mitch, dark0, Clu, loom, Iglew, experimental, record label, gobstopper, best label, best, biggest,
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BFTT – Versioning

BFTT is an artist who takes great care over his work. Through his DJ sets, his involvement with the Mutualism collective and his time running the Leeds-based clubnight Leftovers, BFTT has garnered a reputation for having an impeccable ear when it comes to future-forward techno. Meanwhile the producer’s releases for labels like Cong Burn (Cong Burn 02) and Whities (Blue 03) have been characterised by detailed drum programming and finely-sculpted synth textures.

The producer continues to hone his craft on the Versioning EP, his first release through Mr. Mitch’s Gobstopper Records. The EP’s title signposts that this is another set of carefully-calibrated club tackle. ‘Versioning,’ BFTT says, ‘refers to the lengthy process of building these tracks. Each has existed in many different iterations, with changes being made based on hearing them in different contexts such as in mixes or in the club, and having new ideas from those occasions.’

It is apparent from opening cut ‘Like’ that the time BFTT has put into Versioning has been well spent. Once again this track sees him precision-engineering each percussion part for maximum dancefloor impact. Across the course of ‘Like’ the individual drum lines coalesce into a polyrhythmic whirl reminiscent of Metrist or Batu. The tune is periodically interrupted by chunky ‘Pulse X’ bass hits, an Eski influence that links BFTT up with the grime-adjacent aesthetic of fellow Gobstopper artists Tarquin and Iglew.

Versioning’s other tracks also feature strange synthetic sounds moving in and out of BFTT’s propulsive beat work. The undulating whistle lead of ‘I’ makes it come across like a supercharged version of Ciara’s ‘Goodies’. On closer ‘Ofusc’ we are reminded of Sophie’s early productions by the whooshes of bass and looped vocal snippets. While their focus is still on rhythm and movement, ‘I’ and ‘Ofusc’ also find BFTT introducing some thick keyboard pads into the mix. These warm tones have a human sensitivity to them which nicely offsets the more calculated and machinic elements of his style.

Intricate, weighty and welcoming, the Versioning EP should further BFTT’s reputation as one of UK techno’s freshest new voices.