If there are any still going, get yourself a copy of this extremely limited edition EP, one of the first releases from Buttercuts, showcasing the talents of producer FBC Fabric and sarf London rapper Reindeer. Consummately produced, the record is a masterpiece of economy and quality control,  impressive given that it comes from a musical genre with a growing tradition of fatuous overindulgence and wanky experimentation. None of the short, bittersweet tracks scrape more than a few seconds over three minutes, like good punk songs – which Reindeer also owes some of his attitude to. His rants are appetite-whettingly brief, and wisely chorus-free.

The title track is an essay on 'what's wrong with todays society'. While this is a big fat cliché, Reindeer's stab at it is delightfully unique, laced with the one-sided catechism-calls of rubbish modern life. 'I need to earn my loyalty points'; 'Press your red buttons now'; 'Your best friend's a bitch and you get extra'. Twisting a stand-up comic's sidelong look at reality, his observation is quite deliberately not 'funny because its true'. The wry juxtaposition 'If you drive this car you will get laid along with this style of beer but remember not to drink and drive' - reminds us that such a combination might get us "laid" in ways we didn't intend. His list 'Be a good Christian, give blood and go to the sales on Sundays' sees an eerie sameness in the yielding of soul, body and cash. He won't be the first, last, or best to criticise commercials, but with lines like 'We guarantee buying this family PC will save your marriage – and here's a friendly firewall protection from paedophilia', he's giving Bennet's 1997 offering Mum's Gone To Iceland more than a run for its money.

Fabric's music shows an approach to independent hip hop we dont often see on this side of the Atlantic - Soulsuck is in a style more associated with US artists like cLOUDDEAD, whose work accompanies more surreal lyrics and laid-back vocals than the nasal, sneering delivery we get here. The sucking of the title is achieved musically by what sounds like a reversed melody, as in the backward sucking of Mad Professor's reworking of Massive Attack's Heat Miser. Down The Sides owes even more to the Protection album and its dub sister, a ringing, echoing instrumental in which pad sounds wash under and over precisely chattering drums. This gives the producer an opportunity to showcase his talent for making extraordinarily evocative and affecting music – which should absolutely end up on a movie soundtrack.

As its title suggests, the final track, Passenger is all about transit. Written on a 'grey day bus ride', it is full of changes from one thing to another, 'a moments distortion'; 'ghosting'; 'clouds roll above the telephone poles wide sky crawling from building to building'. Maybe it's the only track in hip hop to use the word 'betwixt'? While the first track is social comment, here the words create an picture as involving as the music, a 'journey through time', without a narrative to distract from its theme or its vision. The only snatch of story is peripheral, and like everything else here, it is fleeting – 'Conversations encroaching – something about how she's a slag anyway' – I wonder whether Reindeer overheard someone quoting Lucas and Walliams, or an unreconstructed Vicky Pollard. We may never know.