Moony – Bullion EP [Southpoint] [Review]


UKG don Moony is in a rich vein of form right now, and has teamed up with hometown label Southpoint for his latest release, the ‘Bullion’ EP, featuring 5 brand new originals.


Right from the opening seconds of the title track, it’s easy to tell you’re listening to a Moony production. A catchy riff with a tinge of Asian influence leads the way with and is quickly joined by soulful, pitched vocal snippets and straightforward 4×4 drums. The first drop descends into long bass wobs that are heavy enough for a reaction in the rave but don’t overpower the tune and the vocal reappears alongside a reverb-heavy stab. Then we’re back into breakdown territory; Moony opens the vocal up a bit more here, extending what was an already catchy hook, and then heads in to the second drop. This time the bass wob has been layered with a higher pitched sound that wouldn’t be out of place on a modern Bassline track. It’s a very solid start to the EP, with Moony laying down his signature style early on.


‘Mutton’ opens with some seriously good shuffling two step, with snares and rim shots falling over each other into lush chords, before giving way to some of the smoothest sampling we’ve heard for ages. This builds to the drop, and the drums return with a bassline weaved in between the empty gaps. The bass sound itself takes turns switching between the more upfront sounds for the dance, and a well rounded, subtler sub. There’s a real warmth to the track as the vocal sample filters back in, which is a recurring theme, and there’s a few breakdowns and build ups, with fresh elements carefully added throughout. Some our favourites include the delicate work on the keys and the panning chime sweep. Overall ‘Mutton’ is a great modern take on the old school sound.

Moments In Dub

If there’s one thing we know about Moony, it’s that he clearly has a huge collection of gorgeous sounding stabs and keys. ‘Moments In Dub’ is another track that makes great use of this collection, as a Moony flicks between dreamy chords and and some seriously sexy key work underneath a sultry vocal. The main part of the track is not what we were expecting at all, and it’s a brilliant switch up. The bassline is wonky as it wonders up and down, and the drums remain fairly sparse, powered mostly by a weighty kick and clap combination. We really do enjoy the small details at Selecta, and the pitched tom rolls are an exquisite touch, making us think Moony had a lot of fun making this one.

Be Your Only

In our pre-release interview with Moony, he said that ‘Be Your Only’ was his favourite track on the release down to the musicality. Listening to it, it’s easy to understand where he’s coming from. It’s clear from the beginning that the old school vibes are strong, with classic organs rolling over 2step drums, accompanied by tasteful vocal and brass chops. The bass on the main section is deep and fairly understated, allowing for the vocals and instrumentation to cut through and take centre stage. The best part about ‘Be Your Only’  though, is the g funk style lead that occasionally freestyles over the top of everything. Collectively, this track is exactly how Moony explained it when we spoke to him: ‘It’s got that old school sound without sounding dated, it’s melodic without being cheesy and still bangs…’

Young Tony

‘Young Tony’ is the last original tune on the EP, and starts with some sick sampling of an old Soul song. The chopped samples ride a bumpy 2 step beat and are soon layered with silky piano work, before heading towards one of the classy drops that are so ingrained in Moony’s style of production. Everything has room to breathe as the bassline temporarily takes the lead, working around the shuffle of the drums and interjecting stabs. The breakdown is fairly short on ‘Young Tony’, just allowing for a quick refresh of the melodies the tune is based around. As a track, it serves as one final reminder of Moony’s ability to create classy cuts of UKG that work both as a piece of music, and as a tune for the rave.

Young Tony [Tengu Remix]

Tengu’s intense remix of ‘Young Tony’ initially borrows the riffs, stabs and piano from the original, backed by a seriously big sub before descending into bass heavy madness. Metallic screeches tear through as the focal point, riding 4×4 drums lead by a fierce kick. The original is never fully forgotten as Moony’s stabs act as a sort of ‘call & response’ to the bassline, and also as the transition into the breakdown. The second drop switches the sound completely, relying on a variety of new basses to get another reaction from the audience in the dance, but it doesn’t feel disjointed as the notes played are still the same. As a remix it’s exactly how you would want it to be; there’s enough of the original elements but used to create a different vibe and, as such, a different reaction. Perfect execution from from Tengu.

Selecta’s Favourite Track: Moments In Dub

Overall Rating: 9/10

There’s not many better UKG producers than Moony right now and he’s shown why yet again. Inventive sampling and genuine musical ability coupled with knowing what works in a club is a heavy combination, and one Moony applies to full effect. The whole release is a touch a class, and is a perfect example of how to reference the old school influences of a genre without relying on them, whilst simultaneously showing progression. Southpoint are brilliant content curators and it’s clear a lot of thought goes into sourcing their output, with this potentially being our favourite release from them so far. Moony and Southpoint have struck gold with ‘Bullion’. 

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