Inspectah Deck - Uncontrolled Substance

Sony Music Entertainment: 1999

As a rebel without a cause, Inspectah Deck leads the charge, forever one of Wu-Tang Clan’s most fiery spitters, but rushing into battle with no clear objective. He’ll drop that philosophical bomb atomically, but what of the follow-through? With a half-dozen albums deep of evidence, he seldom seemed capable of sustaining that first-strike verbal carnage into a lasting campaign. At least, that used to be the charge laid upon one Mr. Hunter, but his recent work as Czarface having redeemed a solo career that never delivered the classic record hip-hop heads expected of him. Who knew adopting the persona of a cyborg crime-fighting mafia-don that can shoot frickin’ laser beams from his eyes would do the trick? I think Czarface is all about that, if the art is anything to go by. I should look into it.

For now though, let’s check out Uncontrolled Substance, Inspectah’s debut from 1999, four years overdue and coming out when Wu-Tang hype was on the wane. Even getting the whole Clan in to help on a project was proving difficult at that point, most members focusing on solo work while building up their own protégés. Compounding problems further for the Rebel INS was the fact the early demo beats RZA had written for his debut were lost in a studio flood, forcing that album to be scrapped and started over. Yes, we were denied vintage mid-‘90s RZA beats with Deck undoubtedly spitting fire over them all, with the full Clan in support.

Instead, we get okay beats from RZA protégés 4th Disciple and True Master, though Deck’s own productions outshine most of theirs. RZA himself provides a pair of beats too, though are far from his glorious early, gritty sounds. Guest spots from the Wu fam’ are sadly minimal, with U-God and Masta Killa only offering a couple verses, and a few additional guest spots from second-tier affiliates like Street Life and Killa Sin.

Ultimately, it’s all on the Rebel INS to carry Uncontrolled Substance, and he does excel there, mostly dominated by battle-raps no one else in the Clan can top, with other stuff mixing things up throughout. There’s hood tales like Word On The Street and Trouble Man (with Pete Rock funk at the board on that one); clubbier offerings like R.E.C. Room and Movas & Shakers (why can’t I ever get Deck’s lyrics of “Bartender! Two Kahlua and milk with crushed ice in the blender” out of my head?); conscious diatribes like The Cause and Elevation (with a Deck beat that was reused in Ghostface’s Supreme Clientele); and some jams for the ladies too (Lovin You, Forget Me Not, and the slinky noir-funk of Femme Fatale… wait, that’s two reviews in a row with a Femme Fatale… the odds, mang!). Strangely, it’s a couple interludes, where Inspectah’s freestyling over a pounding 808 beat, that get me charged the most. They’re only ten seconds each, but damn if I wouldn’t pay good money to hear a full record of that!

Perturbator - The Uncanny Valley

Blood Music: 2016

I keep bringing this up with every Perturbator release now, but I can’t help it, fascinated by Blood Music’s dedication to their artist. They go bananas in the various ways you can own a physical copy of Mr. Kent’s music, putting most labels to utter shame with their swag. Even top-ten producers of electronic music don’t get such a roll-out as this synthwave maestro does. Lord Discogs currently lists fourteen different releases for The Uncanny Valley: this includes the usual coloured records and tapes Blood Music offers, but multiple box-set versions too, with patterned artwork on the vinyl itself (the blood splatter one appears particularly popular). And did I mention the graphic novel? There’s a graphic novel with The Uncanny Valley! Me being CD-me though, I had to settle for the lone, requisite digipak option that- wait, there was a deluxe CD option that included the graphic novel and a bonus EP? Well f

I have to wonder whether James Kent always had ideas for a comic or novel or short film series with this ongoing tale of Perturbator: Night Driving Avenger before settling on music. Because if The Uncanny Valley is any indication, he must be sitting on a wealth of material for future use, continuously building upon his future-shock dystopian universe with every release. This time out, he’s added a fembot cyborg partner in his avenging exploits, plus a whole new antagonist in the Cult Of 2112. Seriously, are there any other electronic producers as dedicated to story arcs as Perturbator? Metal bands, sure; some hip-hop projects, definitely! But techno or house? Hardly, producers content at making tools for dancefloors or headphone commutes. Who’s got time for ongoing narratives when there’s singles to sell?

Of course, having a story arc linking your albums together might seem as little else than a gimmick, one that falls flat on its face without the music to back it up. And synthwave, a scene often filled with shifty retro-gimmickry, doesn’t lend Perturbator many favours without some evolution in his sound. Fortunately Mr. Kent is well up to the task, The Uncanny Valley his strongest album-album yet.

It’s got all the hallmarks of a strong musical narrative, with opening settings, reflective interludes, pulse-pounding climax, and philosophical denouement. Whereas his previous outing, Dangerous Days, was relentless in hitting you with the action, The Uncanny Valley spaces things out more, exploring different moods and tones while leaving plenty of room for those mint Perturbator high-octane cuts (holy cow, that Assault on The Cult Of 2112!). The opening tracks throw some wrinkles in his style too, Weapons For Children and Death Squad slowing things down some, treading into EBM and New Beat’s domain in doing so. That’s followed upon by a noir-jazz outing in Femme Fatale, because of course he’d go there eventually. Meanwhile, little beatcraft tweaks and sonic twerks add extra dynamics to his productions, leaving The Uncanny Valley some of Pertubator’s most accomplished song-writing I’ve heard. No pressure topping this one, lads.

2562 - Unbalance (2017 Update)

Tectonic: 2009

(Click here to read my original TranceCritic review.)

That old review opens with an attempt by yours truly at cataloging dubstep’s myriad permutations into neat, tidy sub-genres, and for the year 2009, it made some sense. ‘Wobble’ had yet to morph into the now-commonly accepted nomenclature of brostep, mainly because it had yet to go full-bro on all our asses (but oh was it ever just over the horizon!). There definitely was an ‘atmospheric’ side to the scene, though most now refer to it as post-dubstep, or future garage if they don’t want their sound associated with the ham-fisted bro anthems dubstep at large ultimately catered towards. And finally I brought up ‘funky’ as a refuge for UK garage fans missing the glory days of Artful Dodger, or some-such. Yeah, I had no idea what the 2-step I was talking about there – UK funky is more an Afro-house thing, and I’d have known that too if I’d ever listened to the stuff back then. Dammit though, the UK bass ‘n’ urban scene was splintering into so many dozen-and-done micro-genres at the turn of the decade. Like I had much time, interest or care to sample all of it, no matter how much Pitchfork or Guardian were telling these were Very Important developments in music culture.

Still, the techno-infusion dubstep was seeing towards the end of the ‘00s intrigued me a little. Between Scuba, Sigha, Shackleton, and 2562, it seemed the genre was leaping out from the urban alleyways into bold, brittle dystopian cityscapes, all the hot journals just as quick at hyping this new development as any other. Alas, t’was as short lived as most hype goes, hotter hotness replacing their names, all the while dubstep soon regarded old, stale, passé, and poo after the bros invaded everything. Some went onto other genres, while others carried on despite the turning tides of fortune, retaining loyal fanbases within dedicated scenes, rather glad the spotlight no longer shone so bright upon their careers. Can’t say 2562 is one of the latter, however.

In the years since I originally wrote that TranceCritic review, Dave Huismans kept himself busy, but as with many of his ‘post-dubstep’ brethren, slowly moved on from the broken beatcraft of his early works. Shortly after releasing Unbalance, he took his 2562 alias out from his Tectonic deal, and started self-releasing material on his own When In Doubt print. Lord Discogs lists his last release as 2562 being The New Day back in 2014, a record with as much techno going for it as anything dubstep. Given how techno-leaning his music was already, it’s hardly surprising he’d go all the way with it eventually. His other alias, A Made Up Sound, has kept him more active in the singles market to this date, with a double-LP retrospective coming out just last year. That one’s gone as techno as anything coming out of Berlin now, so it must be serving Mr. Huismans’ career well enough. After relistening to Unbalance though, it does leave the current creative possibilities a little wanting.

Various - UK Space Techno, Vol. II

Millennium Records: 1996

Cheeky Millennium Records, marketing their sixty-percent goa trance compilation as ‘space techno’. They also had the balls to promote it as an ongoing series right out the gate, giving us a Vol. I no matter how successful the first one sold. It probably did reasonably enough, lasting all the way to a Vol. V in 1998. I somehow doubt even piss-poor sales would have prevented this Vol. II from hitting the CD shelves though, coming out the same year as Vol. I - Millennium was super-go on this no matter what! Oddly, I never saw the third or fourth editions over here in Canadaland, and I wasn’t invested enough in this series for a single disc’s worth of UK Space Techno to buy the fifth. Guess no one else was getting hype to that tag anymore either. If it sounds like acid and tastes like acid, just call it trance!

Hell, there’s no way to hide just how trance some of these tracks are, goa or otherwise. As with Vol. I opening with the classic Neuro from X-Cabs, Vol. II opts for a big, recognizable anthem from another hot, new act, this time care of Transa. No, it’s not Enervate, but the single that came before that one, Prophase. What do you mean you’ve never heard it? I know Enervate overshadowed nearly everything Transa ever did, but Prophase (plus b-side Transphase, included on CD2 here) were totally early progressive trance hits. Okay, should have been. Speaking of X-Cabs, there’s another pair of tracks from the famed Chris Cowie project on here (Avalon and Adena), both blistering cuts in that vintage Cowie stylee. Man, was that guy ever on fire in the mid-‘90s.

Goa trance obviously gets its tunes in, Cosmosis, Zart, Endora, Power Source, Mosti, and Ectomorph doing the business. Some crackin’ tunes from Cosmosis, Silicon Drum, Zart, and Power Source, but little else to recommend there. Hard acid has its obligatory tracks thrown in too, Dr. Octopus (alias of D.A.V.E. The Drummer) being the best of the lot. A young Lab 4 appear, though their Transformation is pitched down significantly for some daft reason – what, too hard for a ‘space techno’ CD? Spacer IV shows up again with yet another way out of place progressive house track, Jetson almost a precursor to the genre’s evolution into ‘prog’. And even regular ol’ Detroit techno gets a couple tunes thrown in, care of Darren Price’s Blueprints and Skeleton Crew’s Skeleton Coast. Actually, I’m not sure what to call Skeleton Coast, and nor does Lord Discogs, because it sure as Hell ain’t tech-house.

Overall a more memorable assortment of tune in the UK Space Techno franchise, even if the concept is straying further from whatever Millennium Records figured ‘space techno’ could be. Like, those two try-hard progressive trance anthems in V’s Anjuna (The Incredible Journey Mix) and The Bubble’s Squeek!. Good God, no! What’s so spacey about a lame breakdown with saxophone solo ripped from the ‘80s?

Various - UK Space Techno, Vol. I

Millennium Records: 1996

Yeah, I get why Millennium Records would eschew the ‘goa’ tag for its new compilation series. The European market was already flooded with tons of CDs offering trippy, acid-drenched dance music, with many a label rushing out to capitalize on hot buzzwords goa, trance, and the like. And fair enough, a lot of folks thought of early trance simply as ‘space techno’ (or ‘space house’, LOL), so it’s not that great a leap in logic in taking this angle. I dunno though; it still feels disingenuous promising ‘space techno’ from the UK, and having a good sixty percent of the tracks still feeling that rush of psychedelia from the shores of India. I sure wasn’t expecting so much goa trance when I picked this up way back when, nosiree.

What I was expecting was a whole lot of unknown names giving me another crash-course in all this ‘techno’ business going on overseas. I definitely got that, what with names like X-Cabs, Green Nuns Of The Revolution, Jon The Dentist, Darren Price, and Chris Liberator (as Star Power) appearing on this double-discer. Okay, so they weren’t outright unknowns, but who here remembers tracks like The Attic, or Neuro, or Desert Storm’s Scoraig 93, or Kenny Larkin’s rub of LA Synthesis’ Agraphobia? Hm, that’s all techno that’s rather spacey too, isn’t it.

I swear UK Space Techno Vol. I is filled with obscure goa trance, honest and true! Cosmosis’ rub of Disco Volante’s El Metro, for instance, or Monosphere’s Elysian Fields, or the Spectra Mix of Optica’s Alkaline PH9. And who can forget such forgotten gems like Isomise’s KHO Phang Gain, or Head-Doctor’s Train å Medellin, plus Polyploid’s Coaster Prefix? Certainly not I, since I’ve had this CD for two decades now (holy cow!).

Since this compilation tries to have its acid cake and eat its goa trance too, it creates an odd dichotomy of tunes that no amount of ‘space techno’ branding can overcome. CD1 isn’t too bad in this regard, hitting you early with simpler, recognizable tunes like Neuro and Spacer IV’s Arc 3 (I think it was) before moving onto psy leaning cuts, the odd acid techno tune breaking up any potential monotony along the way. CD2, on the other hand, opts for pure techno tracks for the most part, some of which are regarded as classics in terms of UK offerings (Scoraig 93, Agraphobia, The Simirillion (Svenson’s Trip To Gondor Remix), others not so much (Skintrade’s Andromraxess, Integrated Circuits’ Ghost 843). Having them assorted with trippy goa and hard acid from the Stay Up Forever posse doesn’t do them any favors either, coming off rather basic and monotonous compared to the busier cuts. I often don’t even remember much of what’s on CD2 until I throw the disc on again. Such is the case with so many double-disc compilations from the mid-‘90s though: a couple classics, a few unheralded gems, and a pile of agreeable filler lost to the ravages of raving history.

Lingua Lustra - Uhadi

Psychonavigation Records: 2015

Albert Borkent has been releasing music as Lingua Lustra for over a decade now, but started really cranking the releases out after the ‘10s took form. Guess that partnership with Databloem helped fuel the ol’ creative synapses just fine, to say nothing of the near twenty assorted digital EPs he spit out under his co-owned print Spiritech (Alireza Zaifnejad; aka. Blue Bliss also handles the print). In the meanwhile, he’s put out a few albums on assorted labels like Anodize, Lagerstätte, earthMantra, Bakshish Music, Electronic Soundscapes Records under his Sol Tek side-project (guess what music they release!), and finally Psychonavigation Records. And yes, I’d never have stumbled upon Mr. Borkent’s material had it not been for that discount haul on the part of the Ireland print, but oh is there so much tempting Lingua material to trawl through now.

That’s for another time though. For now, I’m left with yet another predicament of taking on yet another artist for the first time with yet another hefty discography I’ve nary the time to fully immerse myself in. I’m just gonna’ have to take Lord Discogs’ word that most of the Lingua Lustra stylee consists of similar ambient and drone soundscapes as I’m hearing on Uhadi, though clearly with less uhadi involved. And what is an uhadi, pray tell? Why, it’s that charming musical bow you heard on Leftfield’s Afro-Left, though that was the Brazilian version of the instrument (berimbau), whereas an uhadi is the original South African contraption.

It’s also a titular cut on this album, and most definitely the centerpiece clocking in just a shade under thirty minutes in length. What’s strange is there’s very little use of the instrument in that runtime, at least in any traditional sense that I can hear. Plenty of field recordings though, including passing airplanes and bird song, plus lengthy passages of pleasant synth pad and drone. Some mild tapping of an uhadi does emerge in short order, providing a minor rhythmic backbone to the track, but gradually fades out by the ten-minute mark. It comes back for around five minutes near the end, then the track completely changes course into something darker and dubbier. I should also mention I’m only assuming the gentle tapping is an uhadi. Doesn’t make sense to name a track like that without making some use of the instrument.

It’s a nifty piece of music all said, though clearly for ambient-lovers only. Frankly, I was more intrigued by the opening thirteen-minute piece Rise, what with its ultra-dubby groove, night forest field recordings, and lazy, hazy cascading bell tones – reminds me of something I’d hear out of the Silent Season camps. A few ‘shorter’ cuts round Uhadi out, including trip-hopper More Than Words Can Say, a tune that wouldn’t sound out of place on an older Shadow Records CD. Siren gets more experimental in the trip-hop vein, and closer Run brings the lowdown beatcraft into proper murk as foreboding strings play out. Holy cow, this really is Shadow Records revisited!

The Orb - U.F.Orb

Island Records/Inter-Modo: 1992/2005

It’d difficult denying U.F.Orb as the group’s best work, though I can understand how others might enjoy their other albums more. After the genre-defining excess that was Ultraworld though, The Orb were quick in adjusting and refining just what they had on tap with their music. Cut out all that excessive ambient dithering (save it for the live shows, plus no one got the ironic ‘prog-rock’ joke of it all anyway), focus in on more groovy earworms that rave punters and chilled stoners could vibe on equally, and make each collaboration play to those particular players’ strengths rather than having them around just because you could. The result is six near-perfect tracks within the Orb canon, custom made for the ’92 crowds, and enduring to this day. Plus Sticky End.

Right, high claims signaling out U.F.Orb as most essential and all that, especially as it lacks those truly iconic Orb tunes everyone knows. The closest two we get are Blue Room and Towers Of Dub, each the fifteen-minute breaking behemoth highlights of the album, and the sort of cuts that turned Ultraworld into the double-disc effort it was. Hilariously, the original mix of Blue Room clocked in at a shade under forty minutes in length, a cheeky attack of sorts on the UK charts in pushing the limits of what constituted a single in that nation’s music scene. Hey, I wouldn’t mind hearing that on the radio – any chance to hear more of Jah Wobble’s bass work and Steve Hillage’s space guitar effects is ace in my ears. Nor did the British folk either, Blue Room peaking out at number eight, The Orb’s second highest single ever (only Toxygene’s done better, deliberately so).

Towers Of Dub is the other one, what with its charming bell melody, funky harmonica tootin’ from Marney Pax, and, um, towering layers of dub effects throughout (and can’t forget ‘that bassline’!). I suppose opener O.O.B.E. is a minor memorable tune off here, if anything for its inclusion on Live 93. It’s such an ultra-mellow piece of music though, about as ambient as anything The Orb produced in this era, and frustratingly quiet at times too. For some reason, the only part that ever sticks in my head is the sampled game of billiards.

What of the remaining three, then? How do they fit in the grand Orb lexicon? The titular cut, a modest six minute piece that may as well be proto prog-house, goes about its business as a decent enough transitional cut between O.O.B.E. and Blue Room. Close Encounters goes longer, grooving along on a similar sample-heavy house vibe. Finally Majestic, the obligatory Youth collaboration, keeps the proggy tone going, with a hook in its final minutes that’s as ear-vermis as anything else on U.F.Orb. How this one never turned out a single, I haven’t a clue. I suppose outside of Little Fluffy Clouds, most didn’t give The Orb’s early conventional dance tracks as much notice. They were defining other shit, mang!

The Orb - U.F.OFF - The Best Of The Orb

Island Records: 1998

It’s embarrassing admitting this, but U.F.OFF was the second Orb record I ever picked up. For sure I knew about all their previous albums (Orblivion was inescapable the year prior), even took a couple in as demos at music shops. For whatever reason though, I never bothered buying the Very Important Albums until well after the fact – wow, did Pomme Fritz really sour me on the Orb Experience that much? Yeah, cannot deny it did a little, but that whole ‘living in Canadian hinterlands’ where ‘electronica’ was scarce didn’t do me many favors either. Plus, having The Orb in your CD collection wasn’t exactly the ‘cool’ option around my peers, everyone more hip to The Prodigy, The Chemical Brothers, and Orbital. So the conglomerate that Alex Paterson built forever floated on the fringes of my fancy, an act I knew important enough to respect, but not necessarily dig through. You can bet my last dollar then, that finding a handy Best Of retrospective would give me the Orb crash-course I so desperately needed – got me all Orb-woke, son.

Obviously, a tidy twelve-tracker of The Orb’s first decade of music making is only scratching the surface, mostly settling on radio-friendly versions (or 7” mixes) to tell the tale. This includes the Orbital Dance Mix of A Huge Ever Growing etc. etc., which isn’t a remix from Orbital. Little Fluffy Clouds always was the dancier cut from Ultraworld, whereas Youth’s rub of Perpetual Dawn gives the tune more house pep (and, that bassline!). Further along, DJ Asylum (a reworking of Asylum from Orblivion) hits fast and hard with the breaks and earworms compared to its album counterpart, there’s an Original Mix of Towers Of Dub that lacks the harmonica but adds goofy dialog between a cop and hippie in trial, and a new track of Mickey Mars answers the question of “what would it sound like if The Orb used that Native chant from Enigma’s Return To Innocence?”. The remaining classic singles (plus Pomme Fritz (Meat ‘N’ Veg)) are generally so short as to only offer their basic components before moving on to the next cut. Hell, the lone Orbus Terrarum track, Oxbow Lakes, doesn’t even officially appear, hidden away as a secret song long after Pi (Part 1)’s minute-long runtime fades out.

Still, hearing all these vintage Orb tunes finally gave me enough appreciation for their work to start digging further, which I done did. Strange that such a release would have come out but a third into the group’s existence though. Did The Orb conglomerate figure their time in the sun was done? No, but their deal with Island Records sure was, feeling mistreated and maligned by the Major at that point. I mean, the cover art and title of this Best Of couldn’t be less subtle about their feelings if they tried, which astounds me they got away with it at all. Just a shame their retreat led to some of their most inessential work too.

ACE TRACKS: December 2016

*Whew*

Was that ever the long-haul, seemingly dragging on with no end in sight. This final stretch felt nothing less than desperately crawling across a grueling marathon finish line, the path to the end littered with broken glass, coarse rock salt, and scattered baby diapers.

But enough about the previous calendar year – how’s about completing that massive alphabetical backlog, eh? I quipped back in… September? October?? Well, sometime at the start of it that it might take me until the end of the year to get through it all. I didn’t think it actually would, my steady rate of nearly a review per day scheduling me to have wrapped up sometime in early November at worst. Looking back though, I was incredibly optimistic, having ‘penned’ around seventy-five reviews out of the lot. Holy cow, excluding ‘U’, that’s the same amount as the entirety of the remaining letters in my regular queue (‘V’-‘Z’). No wonder it took so long. One thing’s for sure though, is I need myself a little break, a chance to recharge the brain for this final-final stretch after what’s been an exhausting past few months for a multitude of reasons. But before that, here’s the ACE TRACKS for the month of December, 2016.


Full track list here.

MISSING ALBUMS:
Various - Splash!
Cosmic Replicant - Soul Of The Universe
ZerO One - protOtype2

Percentage Of Hip-Hop: 0%
Percentage of Rock: 0%
Most “WTF?” Track: Not a thing.

Fairly standard playlist, what with only half the amount of albums covered this past month. A little ambient, dark ambient, ambient techno, and some d’n’b too. I’m surprised it even reached four and half hours long.

So yeah, no reviews for January, but should be back come February to take on the ‘U’ portion of my collection. The currently-building backlog will have to wait until after that, as I’d like to make some progress with my main objective in this insane project. In the meanwhile, if you’re just dropping in for a looksee, or happen to have stumbled upon this blog for the first time, by all means explore the 1,000+ reviews already here - that's plenty 'nuff reading to tide y'all over the next thirty days. As for me, it’s time to focus on another music project that’s finally making headway. What might that be, you ask? Well…

High Contrast - True Colours

Hospital Records: 2002

It may come off as ridiculous hyperbole to claim this album forever (and a day) changed the way Hospital Records went about doing drum ‘n bass, but it’s pretty much the truth of the matter. Liquid funk as a genre already existed as a nebulous idea, though with few clear, identifiable traits dozens of producers followed up with. High Contrast almost single-handedly codified how the new-fangled ‘fast soul music’ concept would be done on London Elektricity’s print, everyone following Lincoln Barrett’s form in defining one of this century’s most popular strains of d’n’b. Heck, if a mighty Pendulum hadn’t come along with their own style, liquid funk could very well still be top dog to this day.

So yeah, True Colours (or True Colors for y’all yanks), a Very Important Record in the history of d’n’b, but not exactly the best album out of High Contrast’s discography. Frankly, that would be his confident sophomore effort, High Society, if nothing else than for the liquid funk stylee coming fully formed and furious on that record. Or maybe Tough Guys Don’t Dance, what with its liberal sub-genre hopping. True Colours though (or True Couleur for the Francophones) is clearly Mr. Barrett in his early stages, more conservative in his productions, perhaps a little unsure whether the whole liquid funk thing would catch on beyond a flight of fancy for casual heads. Well, London Elektricity believed in it, abandoning any pretensions of carrying jazzstep’s legacy in favor of High Contrast’s fresher, brisk beatcraft with hooky soul samples galore.

For sure there’s some gems of the genre within True Colours (or True Rangi if you speak Swahili). Make It Tonight was the first single High Contrast put out, nearly a year prior to his debut full-length dropping, and I can’t be the only one noticing that string hook bears some resemblance to Codename John’s Deep Inside Of Me - hey, soul samples can come from the recent past as well as some dusty ‘70s 7-inch. Passion also came out in the year 2001, closing in on the sound that would turn Hospital Records into a dominating force, though that bass tone’s a bit rough. But yes, the definitive liquid funk classic, Return Of Forever, is the opener, bringing nearly everything you expect of the genre (such a glorious string section!). Perhaps the only surprising thing regarding it now is how the build-drop template doesn’t tear out as hard as liquid funk typically does - they were still defining them, after all.

A few jazzsteppy numbers round out this ten-tracker (Music Is Everything, Remember When), but by and large True Colours would rather let the ‘fast soul music’ mold settle than fool with eccentricities. That general lack of diversity in True Colours may be a turn-off for liquid funk followers who came to the genre late in the game, though I’d be astounded if such quibbles were deal breakers for that scene’s fans. They really are a devoted, passionate sort.