It’s been written before and here written again… Hyph Mngo changed the game.
In 2009 then 22 year old Joy Orbison released a twelve so “now”, so post whatever, so on point that it instantly fell into the ‘timeless’ cannon, an exclusive space in electronic circles. One could easily argue that it re-wrote the definition. With unauthourised uploads of his tunes popping up throughout the 18 months after this release (b-side Wet Look is also a personal fav) pulled off fuck knows where, patchy bit rate, and with only a scattered presence on Spotify, algorhythmic statistics are a wayward metric of just how much sway Joy Orbison held at this time. The best wubs were always just around the corner, one right click away. Dubstep was seriously on the boil, UK Funky nudged its way into the UK charts, Juke bubbled away on stove tops deep in the Chicago projects, and Glitch was smashing brains worldwide. Week after week labels dropped bombs for open and educated ears. If your modem kicked in the world beyond the mainstream was yours, on your terms. Post Garage, the scene dujour saw the blogosphere deliver life re-affirming electronica on tap, they were glorious times. In hindsight saying 2009 was an amazing time for tunes is a straight up misnomer. Turns out we were all looking for the next high, highs that rarely ever peaked to these dizzying heights ever again. But that is the cycle of things.
It’s true that future garage laggards imitated ‘Hyph Mngo’ for years showed that dubstep-adjacent music had a huge audience waiting. And this was his debut, before he slipped on a house banana skin and explored that jungle (albeit in his own fashion) this slick offbeat scorcher’s durability is its simplicity. The intro… alluring, sample, the drop (infectious). We wanted to hear it again and again, so we did. ‘Hyph Mngo’ is a cornerstone, firmly fixed in contemporary electronic music’s elite. It’s meme worthy not cause it’s funny – but because ‘Hyph Mngo’ is still so fucken good, it’s fucken laughable.