"A masterful work"
Review of Spacetime Continuum's "Double Fine Zone"
In what seems to be the culmination of his projects from the late 80s through the remainder of this century, Jonah Sharp has produced a masterful work that assertively concludes the millennium in the eyes of electronic music. Suitable for both the dancefloor and the bedroom floor, Double Fine Zone incorporates breakbeat, techno, and the live stylings of saxophone and harmonica woven through lush harmonies and complex production. Having shed some time ago the trappings of his ambient days, techno and jazz are really what this Spacetime Continuum album is about.
After an etherreal introduction, "Microjam" kicks in with a solid kick and a dubby exterior, motivated by a delicious bassline, and evolves into a smooth harmonica solo, drops into a minimal groove, and succeeds nicely. "Biscuit Face" sways with a syncopated step in the rhythm, overlaid with pads and analog stabs, the programmed drums bounce between breakbeat and standard 4/4, chopped up with thick percussion fills and electro-isms that makes you want to whip out the cardboard for some popping and breaking.
Continuing the driving theme ("Double Fine Zone" refers to the drive across the Golden Gate Bridge where traffic violations double), "Spin-Out" kicks off sounding like a dancefloor encounter with a [sic] answering machine beep, then transcends into serious lush Detroitish pads and analog synth fusions. However, it's Spacetime's work with drums [sic] sounds and breaks on this album that are some of the most interesting elements, from the sax-break jam "Free Zone," to the drum 'n' bass flavored track "Compound," a mellow cruiser that is slower than jungle tempo but driven with similar breakbeat intensity.
A couple of years in the making, this full-length masterpiece is Spacetime Continuum's most up front work to date and has the mark of a perfectionist and an artist who is stubbornly unable to compromise, and rightfully so!