(Fingerlickin’/Inertia)

The master of deep acid laced tribal rhythms is finally releasing his debut artist album (as billed by Fingerlickin’). In 2001 Coombs let loose what has arguably become one of the definitive mix albums of the breaks genre, Future Sound of Retro. Fingerlickin’ was, and is, predominantly associated with the party breaks end of the spectrum with Lee Coombs always being a somewhat dark horse of the stable. FSOR introduced the masses to this survivor of the acid house scene whose fusing of breaks, house and techno won him a legion of fans, leading to a huge demand in remix work and production collaborations. FSOR was unique in that all but one of the tracks were produced or remixed by Coombs, giving it a distinct and somewhat personal sound. A similar format followed with the 2002 Perfecto Breaks mix.

The increase in popularity of breaks has seen many of the scenes leading players releasing, or at least announcing intentions to release, solo artist albums. In the case of artists such as The Plump DJs, BLIM and Freeland these have been opportunities to explore their headspace both on and off the dancefloor. In all of these cases, whilst all very different in approach and sound, all have been to relative acclaim. Coombs has chosen instead to use the release of this debut as an opportunity to knock heads with some of his most esteemed peers, keeping the focus where he is renown, on the dancefloor. Collaborative partners include Dylan Rhymes, Andy Gardner (1/2 Plump DJ), Christian J and Jem Panujnik  (1/2 Soul of Man). 

From the opening track Alright All Night, the first of two Dylan Rhymes collaborations, the album is off to a cracking pace. It’s solid chunky breakbeat goodness, a guaranteed floor filler. As we progress we take in the Gardner collaboration Obsessional Rhythm, more of the same, followed by what is for this reviewer the low point on the album. A solid acid tweaking 4/4 beat seems an early good sign but the cheesy rave lyrics of Shiver & Shake sum up for me what much of this album represents. Most of these tracks will sound awesome in the mix; they have all the right ingredients for moving a dancefloor into sonic bliss. However as an album to listen to at home there seems something missing.

There’s plenty of good tracks, all with the Coombs dark and heavy funk that make up his trademark sound. Highlights include the frantic Run Lola Run reminiscent Shape Thrower and the bellowing Christian J collaboration Dubhead. It’s also worth mentioning that two of the tracks are simply Coombs remixes; one of Oakenfold’s Time of Your Life and the other a reworking of his classic remix of New Orders Crystal. The latter unfortunately losing some of the percussiveness of the original remix.

Many of the tracks of this album could well be responsible for shaking up your summer as you pound the dancefloor to their hypnotic beats. However as an album it doesn’t offer anything different to Coombs’ previous two efforts and one can’t help thinking this would have been better released as a mix album. Coombs/breaks fans will want to make sure they check this out but it’s not going to have the same impact as FSOR, in fact it doesn’t really offer anything different. Solid but far from sensational.