Built of sterner stuff than you might expect, Redinho’s musical palette morphs and fractures with every new production. Born and raised on funk, Redinho is as much a product of the 80s as he is the current dance music climate. He makes music with unabashed passion, whether he’s micro organising his shuffling hi hats or zoning out on his talkbox – his preferred method of communication during his blistering live shows. In the past year he’s graced Berlin’s techno mecca Berghain, London’s renowned nightspots Plastic People and fabric, as well as Glasgow’s musical institution Sub Club – successfully taking each by the balls with his own brand of funkified live electronic mania. With a rare and present talent the EP tackles many styles, with Redinho always pressing his own unique and mesmerisingly complete fingerprint on all of them. His opener, the eponymous ‘Edge Off’, ripples with funk, eschewing some of Timbaland’s most respected productions before he flips it; singing in a typically open and honest British tone, mimicking the ascending chord pattern. Reportedly built on a riff that dates back to 2007, it’s the surrounding electronics that make it sound so incredibly current, cushioning the lyrics and propelling the simplistic boom bap drum structure. ‘Slap’ seems to be Redinho’s accomplished take on juke; it’s frenetically quick, propelled by the chopped and screwed slap bass that’s edited perfectly, furrowing down to the gut with its frequential brethren before pirouetting out through the top of your head at one of its many explosive drops. Further proving his ability to work over a dancefloor in all manner of ways, ‘Power Look’ settles on an engagingly simplistic house rhythm, but is peppered with the kind of synthesizers that gave Mr Majeeka’s ‘Different Lektrix’ the bandied legs of recognition that it’s still got now, over eight months later. Layering his synths, developing a more menacing undercurrent with his second, meaner additon, he lifts the dancefloor expectantly up into the moment when the saw wave dies and those aquatic bubble synths reappear. What’s very telling is that you can always find something in a Redinho tune to latch onto, even in ‘Whips’ the brutally powerful bass-led, borderline alien, industrial EP closer – which basically pounds and pounds, repeatedly punching the bottom out of any speaker – there are so many significant touches. The way the snare drums ring and carry, the sheer sound of that bassline and the return of the splayed kick thump, they’re all intrinsic to what Redinho does best: consistently make fucking awesome, danceable music.