Redinho is a hard act to predict. Encorporating an insurmountable array of influences into his sound he's already been selected by BBC Radio 1's resident bass music queen Mary Anne Hobbs to mix exclusively for her show and he's rocked Numbers shows at premier London nightspots Fabric and Plastic People - as well as duppying our party here in Glasgow - and that's all before he's even released a record. Seemingly blessed with a talent for anything and everything, the productions on the 'Bare Blips EP' manage to retain that trademark thump he's been so ably carving out for himself. Flipping from the brief introduction of 'Boy Racer,' that veers its bassline neck out through several layers of lfo torture, to the spatially aware 8 bit flourishes and tweeter rumbling frequencies of 'Lightning Strikes' and on into the rolling drum beat of the eponymous track within 5 minutes, its heftily evident that Redinho's is an envious talent. Whilst stamping his beat ideas with club ready low end it’s the way that he combines them with his spliced apart and re-intertwined melodies that really stands out. Even on the most contemplative, floaty as fuck 'Pitter Patter' (perfectly named, sounding like rain falling through sunshine) where there are no huge bass stabs, you get the distinct feeling that its been tweaked with a fine production comb. If there’s a theme on 'Bare Blips EP' its understatement, there's no air of pretension or of over thought. 90% of it is pure screw your face up, get shirty music and its completely energising for us to hear an artist harness that so eloquently. The justly named 'Banger's kick drums punch like a glock to the abdomen, alternating between killer stab and clean knock and 'Nuff Prang' trickles its contorted melody over similarly relentless kick drums. Closing out his debut EP with the eerie dancehall vibrations of 'Mo Brap', Redinho delves into a different territory, mastering the slow, snare heavy rhythm easily, throwing long, drawn out bass notes in just for the shit of it. And with his musical projects covering as much ground as humanly possible - from the electrified sex of his talk box heavy live show to the numerous and plentiful textures littering this debut - whether tackling basement tracks like 'Mo Brap,' club shakers like 'Banger' and 'Bare Blips' or the headphones on, moody pieces like 'Pitter Patter,' he does it with style, an obvious sense of fun and a love for weighty, weighty kick drums. - Oli Marlow.