Proc Fiskal's music is filled with rapid, choppy beats and playful, sometimes cartoonish samples, as well as melodies inspired by Japanese video game music. His music closely resembles instrumental grime, particularly due to its buzzing bass and angular rhythms, but it's a lot faster, typically clocking in at around 160 beats per minute, closer to drum'n'bass or footwork. The producer hails from Edinburgh, Scotland, a decidedly different locale than London, so his music inevitably seems to come from an outsider's perspective. Throughout his debut album, Insula, his tracks are imbued with snippets of random conversations, arguments, radio dial-flips, and everyday noises such as dial tones and camera flashes. The results are perky and joyous, but also a wee bit sinister and anxious. It brings to a mind a (slightly) mellower Iglooghost, but with less of a preoccupation with fantasy and more grounded in daily life, motivated by boredom and unrest. The young producer (21 at the time of the album's release) proves to be a master at creatively flipping samples, from the complex manipulations of "Scotch Precog" (which is so busy you might not notice that it lacks a proper beat) to the police sirens, signal interference noises, and Dizzee Rascal references of "A Like Ye." During "Hoax Nos Trinit," he manages to work in bits of Robert Johnson's "Me and the Devil Blues," and is that Groucho Marx cracking a joke about Edinburgh at the end of "Dish Washing"? "Vaudeville" seems like a remix of a fight scene from a vintage kung fu flick, continuing with the exaggerated violence of Proc Fiskal's 2017 track "Skulka." Every track on this album is densely constructed, colorful, and unpredictable, and while it may seem lighthearted at first, it manages to cover a wide range of emotions. One of the most inventive debut albums of 2018, for sure.