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Moving beyond the 808 swagger of his earlier material, these cuts are spacious experiments that absorb everything from the darker reaches of the house spectrum to wayward beat-music. As it's name suggests this is a thoughtful record, more mature than previous outings, and finding flow like an album but condensed into a neat six track package of varying styles and tempos.

During the six month period of its production Chesslo worked in a music library by day, locating mood-appropriate songs for commercials. Hours sifting through vacant scores of ad music stirred in him a taste for the opposite. Distorted sounds and saturated textures stood as creative antidotes to the hollow ephemera of commercial muzak.

Launched with fresh inspiration, the record was an experimental journey into new methods of expression. The ghostly harmonised vocals on Get A Grip are Junior’s first attempt to experiment with his own voice. He also invested in new tools: the EP's organic quality owes a lot to found sounds captured with newly acquired field-recording devices and the help of an old Hammond unearthed in Muswell Hill. Full to the nines with a whole range of careful sound design, the record reveals more about itself with every listen.

This is an EP that beckons you to tread further into the mind of this promising young producer. Up until now, Chesslo has been recognized as a producer defined by a playful roster of beat-jams and floor-friendly bangers, but Long Hum really throws back the curtain on the scale of Chesslo’s talent and ambition