He may not have appeared on the recently published list of the highest paid DJs in the world, but Toddla T needs no such accolades bestowed upon him, boasting regular club nights and a slot on BBC Radio 1 among some of his accomplishments. Agitated sees Ross Orton and DJ Pipes, key influences and inspirations of the teen-era Toddla T, remix Toddla T's Watch Me Dance album in its entirety, but does it work?

Fly by name, fly by nature, who doesn't love a good reggae track? 'Fly' takes the laidback soul Jamaica is famed for; the growth and influence of artists such as Major Lazer's most recent and laissez-fair approach plays a part in a dub washed makeover that hints that maybe, just maybe the UK is making a recovery from the un-caging of the beast they call Skrillex. Despite a name change to 'Streets Get Warmer' the disillusioned youth tendencies noting how 'killing has become the norm' strike a chord in the post-riot era; the addition of sub-bass and vocal echoes make for an even powerful statement, without resorting to the same outright brashness or spit driven fury of 'Ill Manors'.

'Watch Me Dance' was always; in my eyes, Toddla T at his very best and I was sceptical at the idea that any enhancements might just detract from its' thriving party feel. If ever you needed a cue to give up on life and migrate to Ibiza then the moment the electrified pulse begins to vibrate in your headphones is it. Orson & Pipes have taken what felt more like a house party perfect record and dragged it into the biggest dancehalls of the White Isle giving you the impression that you have your own personal club night in a box, someone call up Dragons Den.

'Cherry Pickling' inhabits a much fiercer headspace than it did first time round with a violently driven heart that will make your speakers bounce off your well known Swedish branded shelves. The R&B vocal lends itself very well to the underground credentials of master duo Orson & Pipes. At 5 minutes and 8 seconds long, 'I'm Agitated' drops the tempo ever so slightly; something I wouldn't have expected from a pair of seasoned club DJs, but the dub soul felt on previous tracks is still very much alive and kicking. Segueing into the unpronounceable 'Faardaa', if you can get over the name then yet more ska-step as I feel it should now be christened is your reward intrepid explorer. After the tongue in cheek tone set by most of the record, 'Heavy Girl' is a little misplaced as a closer and appears at the end like when your mum or dad would arrive to pick you up from a party just that little bit earlier than you needed them to. Again, not an issue I would have foreseen hindering an album in the hands of seasoned professionals.

The one question at the forefront of my mind before pressing play was something along the lines of 'is it possible to make a reggae tinged dub record, that contains even more reggae tinged dub?' Judging from this particular work, I'll gladly admit that yes, it can be done but on specific tracks more than others. Remixing an entire record of already dancehall ready content would be a hard task for most, Orson & Pipes have taken the bull by the horns on this one and delivered a unique take on an already brilliantly produced record.