When Mark Mac and Dego McFarlane delivered their seminal Two Pages album back in 1998 it confirmed what we always knew about the duo - that they were capable of making highly original and deeply emotive music.
Transcending traditional drum & bass structures, the duo ushered in a degree of elegance and musical sophistication that was - and which remains - unmatched by most of their contemporaries.
This new album has been a long time coming but certainly it's been worth the wait. With the same focus on elegant sounds and sensuous moods, it continues in many ways where Two Pages left off, as well as adding some new influences and styles along the way. Like it's predecessor, it's an unashamedly vocal album with considered contributions coming from the likes of Jill Scott, Ursula Rucker, poet Mark Murphy, Alma Horton, Carina Andersson, Particia Marx, Bembe Segue and fellow Talking Loud artist Terry Callier.
Though it's awash with effortless, string-soaked warmth and intricate song arrangements that demand constant rewind at it's core, there are balances and checks.
There's darker vibes on tracks like 'Golden Solitude', 'Unique',
'2-BS-74638' and 'Ways Of Thought', which use driving, tech-edged beats and analogue discordance to create futuristic/cosmic ambiences which are energising and, at times, menacing.
The best vocal tracks come from Rucker on 'Time'; spitting her urban
metaphysics over a soundtrack that morphs into spacious 4 Hero style d & b, she helps deliver one of the albums finest moments. Another sterling cut, and one which reflects Dego McFarlane's alliance with the broken beat scene for the last four years, is 'Hold It Down', a sassy, streetwise groove that's achieved anthem status at hip London clubs like Co-Op and Plastic People.
Elsehwere, Jill Scott laments having to get up and go to work on 'Another Day' while Mark Murphy provides the albums must surprising moment as he recites mystical spoken word over a highly unusual soundtrack.
Add to this the wonderful Brazilian vocals of Patricia Marx on 'Unique', the familiar croonings of Callier on final track 'The Day Of The Greys', the wonderful euphoria of Minie Ripperton cover 'Les Fleur' and a host of other colourful and visionary moments and you have what is undoubtedly one of the best albums so far this year.
