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The very qualities that annoyed me about it at first - the "proper" musicality, the lack of rough edges - are what draws me to it now.
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It's Cole's deep vocal tracks, though, that steal the show.
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Despite the initial futuristic impression, Cole proves himself to be guilty of the same superficial high concepts that taint far too many dance music albums. Still, there's much to recommend here, especially when Cole sticks to the grooves.
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In lieu of monotonous dancefloor beats, Cole prefers a more intricate soundscape, one in which pizzicato string flourishes freely caress funk-fortified rhythms
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Entertainment WeeklyHis attempts to make electronic music safe for the mainstream occasionally sound like callow crossover maneuvers. [4/20/2001, p.72]
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It’s way too often here that everything new and interesting about two-step gets brushed aside for suspiciously lite jazz and limp mixes of dancefloor hits.
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With the gleaming, self-aware production as well as both Danny Vicious' embarrassing rapping and Elisabeth Troy's overly soulful vocals, it's clear that Cole wants respect at every turn. Despite the consequences.
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Cole is a slick producer, dropping just the right sounds to impress fellow DJs and keep club kids doing the boogie fever.