By Azzam Bilal 
HangupsMusic.com – Manchester, England, has long served as a fertile breeding ground for electronic music that refuses to play by the rules of the mainstream. From the storied days of the Haçienda to the contemporary grit of the White Hotel, the city’s sonic identity is defined by a certain defiant independence. It is within this rich, DIY ecosystem that the duo known as DJ Absolutely Shit emerged, carving out a niche that is as irreverent as their name suggests. Comprised of two of the city’s most formidable musical minds—Il Bosco and Metrodome—the project began gestating in the pre-pandemic era. What started as a series of stylistically sprawling marathon sets has evolved into a powerhouse recording outfit. With the release of their second full-length LP, Synthetic Stupidity, the duo has cemented their reputation as masters of a high-energy, technicolor sound that pays homage to the past while sprinting toward a surrealist future.
The pedigree behind the project is significant. Il Bosco is widely recognized as the mastermind behind Red Laser Records, a label that has become synonymous with the "Manctalo" sound—a unique Manchester take on Italo disco, boogie, and obscure synth-pop. His encyclopedic knowledge of record bins and his ability to find the "weirdness" in a groove are legendary. Metrodome, on the other hand, is frequently cited as one of the most talented producers in the UK. Known for his technical precision and his ability to hop between genres—ranging from hip-hop and grime to jungle and house—he provides the structural backbone that allows their collaborative experiments to take flight. Together, they form a partnership that was, by all accounts, destined for greatness, blending a deep respect for dance music history with a playful, almost mischievous desire to deconstruct it.
Synthetic Stupidity serves as a vibrant follow-up to their debut, and it carries forward the same sense of unbridled joy. The album’s title itself feels like a satirical jab at the current obsession with Artificial Intelligence and "intelligent" dance music (IDM). Instead of cold algorithms or self-serious complexity, DJ Absolutely Shit offers a human-centric alternative: music that is intentionally "stupid" in its pursuit of fun, yet incredibly sophisticated in its execution. The warmth and bounce that pervaded their earlier work are present here in abundance, but there is a noticeable sharpening of their craft. The production is crisp, the low end is cavernous, and the melodic choices are as infectious as they are unexpected.
The opening salvos of the album immediately establish a high-bar for energy. Throughout the tracklist, the listener is treated to a masterclass in percussive swing. This isn’t the rigid, grid-locked programming often found in modern techno; instead, the drums feel alive, swaying with a loose, organic funk that calls back to the golden era of garage and breaks. On the track "8bit Bash," this rhythmic foundation provides the perfect canvas for a series of aggressive, sawtooth "hoover" sounds. These synthesizers, a staple of early 90s rave and hard house, are used here not just as a nostalgic gimmick, but as a driving force that propels the track into a frenzy. The juxtaposition of the crunchy, low-resolution 8-bit aesthetics with the high-fidelity power of the hoover stabs creates a sonic tension that is both jarring and exhilarating.
As the album progresses, the duo explores the intersection of old-school sensibilities and futuristic textures. "Warning" is a standout example of this balancing act. It manages to evoke the atmosphere of a 1992 warehouse rave while simultaneously feeling like a transmission from a distant galaxy. The track utilizes glittering cosmic synths that soar over a breakbeat-heavy foundation, creating a sense of weightlessness that is grounded by a relentless bassline. It is this ability to marry the ethereal with the visceral that sets DJ Absolutely Shit apart from their peers. They are not merely recreating the sounds of the past; they are recontextualizing them for a modern audience that craves both escapism and physical impact.
The inclusion of vocal collaborators adds another layer of depth to the record. "50 Inch Subwoofer," featuring Yussuf Maleem, is a highlight that bridges the gap between different eras of UK club music. The track features classic piano house riffs—those uplifting, major-key chords that defined the early 90s—but subverts them with modern bass rumbles and pitched, warbling vocal effects. Maleem’s contribution provides a focal point, grounding the track’s experimental tendencies in a relatable, club-ready energy. It is a song that feels designed for the peak hours of a summer festival, where the heat of the crowd meets the cool breeze of a synthesized melody.
The duo’s commitment to celebrating UK soundsystem culture is perhaps most evident on "Ale’d Up ’n’ Dat," a collaboration with Sl8r. Sl8r, himself a rising star in the drum and bass and jungle scenes, brings a gritty, high-tempo energy to the proceedings. The track is a frantic exploration of breaks and bass, echoing the spirit of pirate radio and the gritty basement clubs of the North. It serves as a reminder that DJ Absolutely Shit are products of their environment, deeply influenced by the multicultural, multi-genre tapestry of the British underground. The track title itself, a nod to local slang and the pub culture that often goes hand-in-hand with the DIY music scene, reinforces the album’s grounded, authentic feel.
One of the most impressive aspects of Synthetic Stupidity is its sheer stylistic breadth. It is an album that feels like a conversation between genres that shouldn’t necessarily get along. At various points, the record sounds like British rave music tweaking on acid, or electro-hip hop sharing a "dove" with Italo disco. There are moments where garage and breaks seem to be messing about with a sampler in a dark corner, stumbling upon a groove that is entirely new. This "everything-but-the-kitchen-sink" approach could easily become cluttered or incoherent in the hands of lesser producers, but Il Bosco and Metrodome possess the technical skill and the curated taste to make it feel like a unified whole.
The "smile-inducing" nature of the music cannot be overstated. In an era where much of electronic music can feel clinical, brooding, or overly conceptual, DJ Absolutely Shit embrace the "absolutely shit" moniker as a badge of honor. It is a rejection of pretension. It suggests that if the music makes you dance, if it makes you laugh, and if it makes you feel a sense of communal joy, then it has succeeded. The "stupidity" they champion is actually a form of liberation—a freedom from the constraints of what "cool" dance music is supposed to sound like.
The cult following that has coalesced around the duo since their pre-pandemic inception is a testament to the power of their live performances. Their marathon sets are legendary for their unpredictability, often veering from high-octane jungle to obscure disco edits without losing the crowd for a second. Synthetic Stupidity captures the essence of those sets, distilling hours of dancefloor experimentation into a concise, potent LP. It is a record that demands to be played loud, preferably on a system that can handle the "50 inch subwoofer" frequencies they so lovingly craft.
Ultimately, Synthetic Stupidity is more than just a collection of club tracks; it is a celebration of the Manchester DIY spirit. It is a product of late nights in the studio, years spent digging through record crates, and a genuine love for the transformative power of the dancefloor. Il Bosco and Metrodome have created a work that is inimitable and deeply personal, yet universally accessible to anyone who has ever found themselves lost in the strobe lights. As the final notes of the album fade out, the listener is left with the impression of a duo that is operating at the peak of their powers, thumbing their noses at the serious world of "high art" while creating something that is, ironically, a masterpiece of modern electronic music. With this second LP, DJ Absolutely Shit have proven that sometimes, the most "stupid" thing you can do is also the most brilliant.