Joy OrbisonHyph Mngo / Wet Look

Label:Hotflush Recordings – HFT009
Vinyl, 12", 45 RPM
Style:UK Garage, Dubstep


That Side
AHyph Mngo5:37
This Side
BWet Look5:17

Companies, etc.



Hotflush recordings 2009

A: 140 BPM
B: 136 BPM

Barcode and Other Identifiers

  • Matrix / Runout (Runout side A, etched): HOTF 9 A ⓡatd&m MPO
  • Matrix / Runout (Runout side B, etched): HOTF 9 B ⓡatd&m MPO

Other Versions (3)

View All
Title (Format)LabelCat#CountryYear
Recently Edited
Hyph Mngo (2×File, FLAC)Hotflush RecordingsHFT009UK2009
New Submission
Gudrun (2×File, AIFF, Reissue)Hinge FingerHF0004UK2019
New Submission
Hyph Mngo / Wet Look (12", 45 RPM, White Label, Stereo)Hotflush Recordingshft009Unknown



  • nonetchu's avatar
    if this was repressed then society would evolve and we'd have flying cars
    • tek-tonics's avatar
      i remember this coming out ..i liked it ....i was never the dubstep purist ....but i remember thinking ..this is probably the end of it all the fun underground will be in the clubs soon ...i was wrong it took a lot longer ....not until skrilex did the clubs start.. not allowing me in ...and rebranding it ...i played it on my local sydney radio station ....fertile times ..that seemed not to have been surpassed ....i find myself coming back to this time to find interesting music that came be danced to ....
      • -MuzikizuM-'s avatar
        Edited 2 years ago
        Does anyone know we’re the vocal snippet from the A side is sampled from?
        • 22oehlerkingw08's avatar
          You kids and your dumb rap music, I only listen to Nightcore
          • afjfromfla's avatar
            Edited 3 years ago
            Everyone knows this. A-side is one of the seminal dubstep tunes from, one could say, the third wave of dubstep (first wave being Hatcha and co. evolving out of dark garage with the second wave being the more typical half step Loefah, DMZ sounds, third wave being this permutation of people who came up going to DMZ nights and making their own weird take on it). It's dubstep from when dubstep meant something new, experimental, fresh, and when it pushed the edges of bass heavy dance music.

            There's a formula for dubstep now and it's a shame bc this was really the peak of the genre, when you could have this or James Blake and a Mala or Coki tune fit in well together, all pushing things forward.
            • moket's avatar
              Edited 2 years ago
              This is dubstep you bunch of chin strokers. Three more words
              • bambino2010's avatar
                when the phrase dubstep was coined garage was the dominant sound in the mix(el-b/Benny Ill)
                shortly after the next generation brought the 138-142 low end experimental sounds.I do agree alot artist who are doing house & techno at 140bpm is not dubstep.No geezer rant just my opinion & I Love this tune.
                • Merowinger_86's avatar
                  It is music. And it's great. The genre doesn't matter.
                  • Risingson's avatar
                    Edited 2 years ago
                    As you can all see, the "dubstep" label became really confusing circa 2009. Right now it is more or less clear that "dubstep" calls memories of dubby tracks like the first Skream, Kode9 tracks or the wobbly ones from much more famous people, but the uk garage return was so disorienting that the audience and the critics forgot that this genre ever existed before. And this is what happened around 2009 and 2010: the return of the purest UK subgeneres, little by little, first uk-garage/2step , then oldschool breaks, and then some jumped to techno, others to house, others to jungle/drum n bass. Nostalgia all around.

                    Of course it was a gradual thing (the first Burial album was from 2007, and there are nods everywhere of the style in underground releases from Germany and Uk during the 00s). But this is one of the standout releases, just because it gathered everything that was floating around and put it in two tracks, two absolutely wonderful fantastic dreamy tracks full of London syncopation, where you could draw lines to Mad Mike moody tracks, Bukem old drum n bass, Todd Edwards use of samples, Bugz (in the attic) use of rhythms. And a musicality that my God Spaghetti Monster has reappeared only a few times: "Hyph Mngo" is the famous one, but the hooks in "Wet Look", the bridge, the use of "I'm falling and I can't turn back!" is pure inspiration. Masterpiece of a release, and something that reminds me of the two years I had more fun with electronic music.

                    Editing in 2021 to say that with Bugz I meant the Bugz in the attic crew (broken beat has a huge influence in this "post dubstep" scene, but of course broken beat is another close relative of uk garage...). And to say that you cannot listen to the synth pads in Wet Look and not realise that Now This Is What I Call Pure 100% Garage
                    • aydiology's avatar
                      to the guys below me, you are exactly doing that what producers don't want, they don't want to get pinned to a specific genre. what's even the point? just enjoy the music


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