Artist: Phillip Charles Feat Randall Jones & Sean Q6
Title: Dont Come To Me / Wormwood
Label: Hamachi Records
By: Chloe Harris | 3 April 2003
Tracklist:

• A1: Dont Come To Me (Feat Randall Jones)
• A2: Dont Come To Me (Acappella)
• B1: Wormwood (Feat Sean Q6)

Phillip Charles Feat Randall Jones & Sean Q6 "Dont Come To Me / Wormwood"

Phillip Charles and Randall Jones of Philly’s Tigerhook Corp team up with fabulous dj and producer Sean Cusick to belt out some madness. They’ve all had tons of releases, and to have all three work together was a brilliant idea. House meets utter dirt with lots of filth make this something you need.

‘Don’t Come To Me’ is one of the dirtiest songs I’ve ever heard. We start out with a thick distorted kick, and a light high hat. The song starts to gallop. Mechanical sounds start to drop and fall from the sky. Randall’s voice comes in talking about 'being dirty'. His voice is effected, and it’s thick and sinister. More high hatss start in as he keeps on it. Everything stops up for a second, and the bassline drops in. It’s so funky, but so sleazy, it’s perfect. As Randall is still talking, a sweeping sound comes over the top, and drops us into the rest of the bassline. Going on for a bit, then the sound is pushed up all together and pops out just as a kick drum, and a high hat, and starts over again. A lush tone comes in moving and swirling all around. It’s beautiful and really lush. The drums fall away and only the pads are left. We go back into the beats and Randall takes us to the end. There's also a bonus acapella that is a great dirty dj tool for all you open minded people out there.

‘Wormwood’ is the song that Sean Cusick lends a little hand to. A kick starts us out, and a high hat takes us on. A viscous electronic techno arpeggiator sound takes over the song. It’s meaty and is definitely different from the conventional way of opening a song. A clap is added, making some more drum layers. Sounds that sound like samples from a movie in dark New York glide in over the top. They swish and sway back and forth rubbing up against the viscous sound. Falling out of the drums, a woman's voice comes in. It’s caught up and looped, until a new bassline is introduced. It’s dubby, and housey, but very smooth. The kick then changes, slowly evolving, as it takes us to the end.

If you like you’re house, dirty, twisted, and lush, grab this right away. It’s incredible.