Rob Glassett first came to our attention as one half of Homepark. Alongside production partner Sam Fussell, the duo’s music has led to releases on labels such as bliq and Chez Damier’s Courtesy of Balance Recordings. Away from Homepark, Glassett also makes music and plays records solo under his Fold moniker. As Fold, he delivered our 49th Truancy Volume while his monthly NTS radio show continues to provide a platform for a truly skilled selector to crate-dig to his heart’s content. Fold’s radio slot can encompass anything from ambient electronica through to old UK garage records; all paired with a healthy dose of heady house and techno cuts old and new. With such diverse taste, it’s perhaps unsurprising that Fold’s production output follows suit and avoids being pigeon-holed to any one style. In Glassett’s own words, “I think with my Fold output, there’s less boundaries really… my Fold stuff is more spontaneous. It might be driven by an epiphany on the night bus or maybe an experience on a dance floor.” With that noted, Fold’s return to George Fitzgerald’s ManMakeMusic label sees each of the EP’s three tracks vary considerably in style.

Title track “Mr W00D” is an energetic dose of disco-flavoured house. Sampling Alicia Myers’ 1981 classic “I Want To Thank You”, the vocals are continually teased in and out before storming to the fore in a soaringly euphoric finale. Fold’s aptitude for sampling is evident here but the drums add real power to proceedings, a recurrent theme in the EP. Glassett’s love for garage, jungle and other UK dance music is well known and is something he’s discussed before. In the humorously titled “Keif Chugwin”, his choice of vocal sample puts these influences on clear display. You might not necessarily associate soundbwoy vocal cuts with dub techno synth work but here Fold melds the two together with ease, delivering the EP’s standout track in doing so. Having heard it out, this is definitely one for the floor with both the synth stabs and the powerful kicks packing plenty of punch on a system. The finale of “No Foolin’” doesn’t quite live up to the two preceding tracks, a piece of filtered house with a vocal sample which – surprisingly given what has come before – fails to really add anything. That’s not to take away from a very solid EP however and it’s great to see Glassett continuing to channel his different influences so well.