BORED LORD-NAME IT!

Bored Lord's latest album is a love-letter to vintage bass music (from Florida breaks to broken beat) crafted using era-specific samplers and romplers - bangers from beginning to end, it's one for the dancers, not the chin strokers.

If you've ever seen Daria Lourd spin then you'll know how expertly she's able to control the fluctuating energy of the dancefloor. She's best-known for her cheeky, genre-fluxing edits, but that's only part of the story. Her sets sup their energy from history without drowning in nostalgia, offering a heads-eye view of what dance music can provide in 2023. So it's hardly surprising that 'Name It' is so rugged, literate and kinetic. 'Feel It' is as rousing as a peak mid-'90s stepper with its downsampled breaks and molasses-thick Reese bass, but Lourd spikes her production with gentle, jazzy euphoria that sounds perfectly contemporary.

The cloudy vocal on 'There's More' might sound as if it's slipped off a chart-piercing Orbital crossover, but in Lourd's hands gets juxtaposed with winding psychedelic synths and bone-dry beatbox rattles. And 'With Others' takes us to the Midwest, looping a footwork/Chicago house vocal snippet around anxious stabs and chaotic, clattering beats that morph into tweaked breaks. There's even proper jungle moments on here: 'Look' is as good a revival as you're likely to get, with hardware sampled breaks and uneasy pads spiraling around a chopped diva cry, and finale 'In My Soul' sounds like the end of a great night, as the dancefloor begins to disperse and the lights flicker on.