These recordings represent the point where the tastes of the Brighton Mindless meet with those of their Scottish counterparts. The Brighton boys generally like to listen to recordings of ghostly mops being thrashed till they whimper, while their friends in the North prefer a mix of hip-hop and rock that can only be described using words that start with the letter “A” – arty, angular, American, or just plain old arsey will usually do the trick. 
It was one of my Southern friend who first introduced me to Hype Williams’ One Nation, a collection of electric dreams that sometimes sounds like the work of a mind trying to think its way out of existence. If the strangely absent sound of the instruments on album opener ‘Ital’ provide a suitably morbid build-up to this concept, then the pitched down narration that runs through the second track ‘Untitled’ literalises it:
The people who are still alive when you die might hurt because you are gone. That is okay. People love other people and usually it hurts when people we love die. We even comfort ourselves with those stories that the dead person is… not really dead, and that is okay too.
But of course everyone dies, and you will too…
There’s something of the live band about this, a sense that these songs are happening in the moment, the work of minds and bodies that are reacting to their immediate situation. A lot of this has to do with the halting, tentative quality of the synth playing – set against the generally spacey, metronomic thud of the beat, the melodies have an uncertain quality to them, a sense that they are being recorded before they have finalised. Consider, in contrast, the work of some of Hype Williams’ contemporaries – most Burial tracks aspire to the condition of field recordings in their attempt to chronicle the long, dark club night of the soul, while Actress tracks are more often than not are conceived like static landscapes, revealing detail through time and close examination rather than movement.
The tracks on One Nation are similar to those on Ghettoville or Rival Dealer in that they provoke the sense that you’re listening to something that is almost not there, but where those other artists strive through this effect primarily through tricks of texture and structure that elide the distinction between different sonic elements, Hype Williams do so through a mix of texture and performance that maintains their distinction.
To state it another way: ‘Come Down to Us’ and ‘Skyline’ sound like places that you may or may not have come into contact with, while the songs on this album sound like interactions that may or may not be happening now, in real time. This approach isn’t necessarily superior to ones deployed by Burial or Actress, whose distinct approaches I’ve come painfully close to blurring into each other here, for shame – their work is perhaps more immersive than Hype Williams’, but while you catch site of various Others on the edge of your perception while dealing with their work, listening to One Nation feels a lot like an encounter with a specific Other. 
Sometimes, this Other seems tranquil about its own potential absence, such as on the aforementioned ‘Untitled’ track, but my personal favourite run of tracks comes near the end of One Nation, at the point where ‘Mitsubishi’ immerses distressed, backmasked sighs into its in-out backing track, before exploding out into the wild whistle call of ‘Jah’, which recalls Archie Hind’s description of the death twitches of freshly killed cow in The Dear Green Place, “the possible moment of consciousness, when the head loosened and the animal took that last great breath through the chittering windpipe.” 
Stripped of the rap vocals for which they were (mostly) originally composed, the tracks on Clams Casino’s three Instrumental Mixtapes create a similar effect.
Strangely, given their origins as rhythms for rappers to ride, Clammy Clams’ production has perhaps more in common with the soundscapes of Burial or Actress than it does with Hype Williams’ snap and echo. Clams Casino beats tend to rise and fall as part of the instrumentation around them, with the snap of the drums sounding like the thud of a human heartbeat, an intimate part of the ragged exhalation that accompanies it.
Take, for example, the song ‘Hell’ from the third mixtape, which sounds so much louder and more distorted here than it did when A$AP Rocky and Santigold sang and rhymed on top of it, and which nevertheless has a gentle, organic feeling to its rise and fall – an effect not entirely dissimilar to the one produced by Hype Williams’ ‘Mercedes’. 
Other tacks like ‘Palace’ (from the second Intrumental Mixtape; also originally composed for A$AP Rocky) and ‘Numb’ (from the first Mixtape; otherwise unreleased) literalise this organic effect by drawing out samples of human voices beyond their usual span, and making killer beats out of human breath. Listen to these songs on your headphones while commuting to work on a hungover Monday morning and you’ll find yourself looking over your shoulder to find out who’s been whispering away at it – and trust me, I’m speaking from experience on this front!
The texture of these mixtapes matches the fleeting, performative quality of One Nation for the sense of fleeting individual mortality that’s evoked. And if it seems unlikely that such fragile records should draw so many rappers to them, just listen to the remix of Janelle Monae‘s ‘Cold War’ from the first Instrumental Mixtape and ask yourself what you hear. Me? I hear the sound of a lone voice, calling out in the darkness, demanding a response…