A title track at 161 BPM and an acoustic R&B version living on the same record: 'Don't Do Me That Baby' is best explained by its extremes, not its average. Midst signs all ten cuts for Sweep Da Scene Records, a Canadian label run by DJ Forensics with a firmly UK-leaning take on drum & bass; and yet most of the tracklist sits between 87 and 90 BPM — broken drums read at half tempo, closer to soul than to jump up.
From breakbeat to guitar
The first contrast lives at the edges. 'WickedGame' opens on breaks and UK bass ground at 119 BPM, a middle lane that neither promises nor rules out what follows. On the far shore, 'Daddys Not Perfect (Acoustic Version)' leaves the dancefloor entirely: guitar-led R&B, the record's most naked moment. Between them, the title track is the only one clocking 161, a lone energy peak — nothing else on the album runs that fast.
The second contrast is emotional, and you can read it straight off the titles. 'Mummy And Daddy Dont Get Along Anymore' and 'I Love You It Still Hurts' sketch a confessional songbook, almost a diary, while 'She Wants The D' drops the crudest line of the lot. The keys follow the fault line: three cuts in E-flat minor hold the darkest stretch, and both 'I Love You It Still Hurts' and closer 'Blood VIP' resolve in D major, as if the album chose to end in the light. There are extremes of breath too: 'Trip With You' stretches to 5:38, the longest ride, against the 3:08 of 'Did Shinebright'.
Midst is no passing guest here: several LPs already sit in the label's catalogue — 'My Dreams', 'Strangers Now', 'My Story' — and DJ Forensics keeps the house busy, own radio show on Code Red Radio included. That context explains the record's freedom: when a label trusts an artist this much, he can slip an acoustic guitar into the middle of a drum & bass album and have it land as a statement of intent, not an accident.
Sources: Beatport · SoundCloud