It feels like someone left the light on in the studio and it all just ran itself, there had been a funky human input earlier in the day but, by a Darwinian machine-led kind of osmosis, the tracks recorded spent the wee small hours self-reducing and simplifying themselves. Marinated in music. I believe more in the scissors than I do in the pencil, said Truman Capote. Simplicity is the ultimate sophistication, opined Leonardo da Vinci much earlier in proceedings. Yes, its the space around the object, what you leave out that makes what you leave in so important. ESG know this. Sure they can play the game but its the swagger of the groove and the minimal topping like an anti-cup cake that makes this unique New York sisterhood so appealing on Keep On Moving. Sampled on TV ads, lauded by critics and swooned over on the dancefloor, ESGs post-punk took out the grunge and polished the basics. Cut them open and less is more is written all the way through. Keep On Moving was released over ten years ago to much praise (Q said it was even better than 2002s much loved Step Off). ESG had been sparring partners for PiL and early hip hop and four years after the Off, they were onto something new rhythm as core, reflective storylines about relationship management, sensuality and insanity gather around the bass fix but theyre much blurrier than the incessant beats. Inadvertently they unmask techno and glitch and leave out any kind of superfluous fluff. Its hard and temple throbbing. Turn it up. And keep moving. If there’s one tune which sums up ESG’s enduring lust for life, it’s the beautifully-judged Black Flag/early techno crossover of the closing ‘Gimme A Blast’. The Guardian 5/5 // This album’s every percussive aspect has been honed to impart the maximum amount of pleasure. The Observer // Despite their influence on younger bands (you can hear LCD Soundsystem’s knobbly grooves on Insane), ESG still sound like nothing else. The Guardian.