( BMG / BMG )

This is without doubt one of the most interesting records of the past year. Defying all attempts at categorisation, Kosheen toy around with nu-skool breaks, d’n’b and even the odd spot of trip-hop.

The album starts with the original drum’n’bass version of “Hide U”, the track which shot Kosheen to mainstream recognition last year courtesy of a progressive remodeling from remix maestros John Creamer and Stephanie K. The original cut is a funky piece of vocal drum’n’bass, with some nice little vocal flourishes missing from the remix adding another dimension. For those only acquainted with the 4 on the floor remix, this will be an eye-opener.

“Catch” is a radio-friendly breaksy vocal number, with some nice techy noises and emotion-heavy vicals from Sian. Already on high-rotation on most commercial radio stations, this track is bound for the lofty heights of chart success, without a doubt.

The big guns come out again for ”(Slip & Slide) Suicide”, furious drum’n’bass at its finest, cooled off with sexy vocals. I’m currently suppressing the urge to bust moves until I finish this review. Incredibly tasty stuff.

“Cruelty” is a glorious slice of trip-hop, seemingly influenced by a few of Kosheens high-profile Bristol neighbours. A beautiful, haunting, track, and probably the most shining example of Sian’s exceptional vocal talent. I swear there are moments here where she sounds for all the world like Portishead’s Beth Gibbons, which is a compliment of the highest order! Ethereal, spine-tingling stuff, and easily the highlight of this album.

Kosheen have proved with this album that they are more than worthy of the hype. An incredibly accomplished debut, with enough scope to keep everyone from the pop-consuming masses to the drum’n’bass purists happy.