How does Mosca do it? Since first appearing on the scene back in 2010 with his monumental debut, the Square One EP, Mosca has managed to maintain an unbelievably consistent level of quality across his output, even while continually exploring largely new factions of the bass-music spectrum with each release. Last year’s “Done Me Wrong” b/w “Bax” single was steeped in classic 2-step and garage, while the Wavey EP offered up four bass-laden techno rollers, and now, with the man’s first EP of the year, Eva Mendes, Mosca has taken his firmest steps into the world of house music.

A venture into this genre isn’t the most surprising of moves—house music seems to be on everyone’s mind lately, as the classic Midwest sound is increasingly being pointed to as a wealth source of inspiration by more and more producers. Still, Mosca manages to make his interpretation entirely his own, keeping his rough and tough production qualities completely intact. The producer’s heavily compressed drums and percussion, his hi-fi, almost-mutant synth sounds, and penchant for utterly monstrous low end are all present on this EP in one form or another. Honestly, the first two tracks of Eva Mendes aren’t that far off from where Mosca’s been before. Both the title track and “Accidentally” groove with a familiar UK shuffle in tandem with a pair of infectiously rolling basslines. It’s what floats above these rhythmic beds that aligns these tunes more closely with their house roots—”Eva Mendes” places floaty, organ-like chords, Detroit-style strings, and even an “It Takes Two”-reminiscent “Yeah!” above its lower-end counterparts, while “Accidentally” relies on a layered, partially abstract vocal contribution from house legend Robert Owens and an anthemic, gliding synth melody to fill out its six-plus-minute run.

“Murderous,” the effort’s closing cut, is perhaps its most unexpected. Whereas the two tracks which precede it are clearly propulsive, full, and constantly pushing, “Murderous” is built methodically and allowed to simmer at a smooth tempo for its entirety. There’s almost a Latin tinge to the proceedings, most notably in the pilings of shakers and hand percussion, but also due to the song’s jumping electric piano chords. It’s still very much club fare, but instead of fitting into line with Mosca’s usual perfectly chiseled blocks of hyper-modern bass music, “Murderous” withdraws a bit, beckoning its listeners in with its complex rhythms and sultry—albeit a touch over the top—vocals (thankfully, the EP also comes with a “Dub” version for those wary of lyrical phrases such as “All I want to do is get into you”). The track makes for an unanticipated closer, but is still impeccably crafted and only furthers the argument for Mosca’s title as one of the most versatile and exciting producers in the scene today.

By current standards, Mosca takes his time preparing each of his releases for the world, but with a virtually flawless discography to his name, no one is about to tell him to speed up the process. On the Eva Mendes EP, Mosca has again put together an effort that balances forward-thinking production, expert sonic craftsmanship, and continued genre exploration into surefire dancefloor heat, further solidifying the fact that every Mosca release is bound to be worth the wait.