Fuckin A’! Soul music at it’s best...or worst. Best being nice workings of glitch electronics with an older sound; worst being the open eyes of a closed-minded individual not wanting his favorite artist conforming to a stigma, or becoming somewhat of a mainstream breakthrough artist. With magazines such as Vibe and Esquire reviewing the album and labeling them as a mix of Outkast and Massive Attack, this is a TTA lovers reason to justify his/her hatred for the album. Could this possibly be a “sellout” of electronic music? In many eyes, I’m sure this is the case, but honestly, I think it’s a beautifully done album like it’s 2001 LP predecessor “Fahrenheit Fair Enough”.

Eustis and Cooper add vocalists Lindsay Anderson and Damon Aaron to compromise 6 of the album’s 9 cuts. Each moving in and out of their previous styles but move towards a more emotional setting than “FFE”. The opening cut ‘When it Happens it All Moves by Itself’ brightly starts the show; exonerating their creativity to shift into a different direction with orchestral jazziness that can be heard from deep within. Aaron’s vocal prowess can be heard in the soulful ‘I lied’ and ‘Nothing is worth losing that’, whilst Anderson lends just a small amount of her range on their most definite breakout single ‘My week beats your year’. The title track is almost unexplainable. The power of emotion it fulfills hits close. Really fucking close. The track that may appeal to most of the crowd will definitely be the crunchy, upbeat, hip-hop oriented ‘What is without the hand that wields it’. It hits just as hard as Autechre’s ‘second bad vilbel’ but has more substance and creativity. It ends as somewhat of a reprise; taking bytes upon bytes of one another and feeding them to yours truly.

Crack, Boom, Bang, hate me now, before you love what you hear, it will definitely grow on you, but you must give it a try. With tracks 1, 5, and 7 alone, this will definitely be in my top 5 of the year.

© Joshua Bratton (will be used in the next absorb.org update)