When Get Physical announced that Jesse Rose was to become the next artist to mix their Body Language series, it represented a slight curveball to the seemingly more techno focused exponents in the previous outings. It looks like a masterstroke however, signalling a newer direction for the label and, perhaps more importantly, giving focus to Jesse Rose. If 2006 was the year Rose became the buzz producer, then 2007 is when he snatches the crown as the most forward thinking operator in dance music. Previously Rose has demonstrated his playful side and oddball inspiration, fusing samples from differing musical staples together around warped grooves, whilst constantly growing and grabbing a newer and fresher maturity. This mix continues that development. Moving to Berlin has obviously lent a more European and electronic edge on the Chicago inspired backbone of his previous work, all the while allowing for that magpie tenacity so intrinsic to hip-hop to plunder anything sample wise, making Rose stand out from his contemporaries.

This mix demonstrates this superbly, starting with the typical flourishes of the ‘fidget’ sound Rose and his mob have been typecast with, epitomised by the bustling grooves of Sinden and Solid Groove’s ‘Gotta get up’. Elsewhere Alfonso Mango and Cass and Mangan display groove inducing sentiments and help the mix to chug along and find its feet. By the time Oliver $’ melancholy chords drive ‘Hotflash’ into the consensus, it’s all begun to take shape and when the fizzing energy of Brett Johnson’s rework of Scoper and Bubba’s ‘I’m satisfied’ barges in, Rose hits meltdown. On the dancefloor, it’s one of those moments where you know a dj has suddenly wrestled control from you and you’re powerless to resist; at home it’s the point where finger snapping and toe-tapping suddenly shifts to wide-eared grinning and getting out of your seat. The funky point of no return.

What follows is evidence of Rose’s Berlin surroundings affecting his output, the underlying menace of Tigerskin and the stripped back resonation of Radio Slave jostling with Dublex Inc’s growling bleeps. All this leads wondrously into the album’s rousing finale, where Rose’s own magnificent ‘All over my head’ staples Bobby Peru’s clunking ‘Erotic discourse’ to the beautiful, stirring crescendo’s of Aril Brikha’s ‘Groove la Chord’. It allows for Rose to weave strands of his artistic influence adeptly in a fashion similar to Jacques lu Cont’s fabric mix back in 2003. Whilst this isn’t quite up to that standard, it bristles with a knowing smugness that Rose as an artist is lilting longingly at the spotlight, and will ultimately greedily occupy much more of it as the year goes on.

There probably isn’t an artist right now in the rave circle who should be commanding your attention more than Jesse Rose, and as a mantra for where he’s going to take you, this compilation couldn’t be anymore of a stunning riposte. This isn’t a timeless mix in the way of Coldcut and Ritchie Hawtin’s iconic craftings of the genre, but works gorgeously as a manifesto of artistic intent. The future of House music is in safe hands.