With the Sleepin’ Giantz project, legendary garage and broken beat producer Zed Bias joins forces with two heavyweights of UK hip-hop, Rodney P. and Fallacy, to explore the fertile sonic territory between Top 40 radio and raving. The combination of Bias’ dancefloor sensibility with Fallacy’s and Rodney P.’s head-nod-inducing verses creates a propulsive sound that is equal parts chart material and sweaty rave workout. Sleepin’ Giantz glamorizes the lifestyle of young urban England, and makes it sound like a hell of a good time.

The project’s vocal additions breathe new life into dubstep, while tracks like “Mucky” and “Badungdeng” display a new template for hip-hop, uniting lyrical creativity with more innovative club sounds. “Mucky” pairs a growling dubstep bassline with the type of bragging lyricism typical of mainstream rap cuts, resulting in a sound that could easily find a home on the radio. “Badungdeng” is a throwback to the turn-of-the-century heyday of London’s 2-step scene, bouncing along on a muscular beat that feels like the late ’90s while updating the sound for a post-dubstep world.

On “MC Pt. 1,” Sleepin’ Giantz revisits the best of speed garage’s champagne-and-bullets era. The lyrics—a blow-by-blow recounting of an MC’s experience at a rave—are on the cheesy side. As is the synth line. And the bassline. But somehow, when thrown together, some real dancefloor fun results. With lyrics like “We hit them with the bass and the drum/I forgot that’s where it’s from,” Sleepin’ Giantz seems capable of uniting generations of bass-music aficionados, from classic drum & bass heads to fans of today’s mutating club sounds.

The album finishes with “Final Curtain,” featuring Jenna G, one of the most recognized vocalists in the drum & bass and garage worlds. The tune leans epic, with the type of reflective lyrics one might expect from Jay-Z. The combination of forward beats and the more straightforward lyrical delivery is what makes this song—and the rest of Sleepin’ Giantz—really work.