We Can and We Must We Can and We Must

You see a pile of gear on the cover. The first track starts with a soul-jazz sample, so you think it's going to sound a certain way, but after a brief intro, another beat starts sliding in and you think it's going to build up its linear momentum like a juggernaut in the way that big beat works. A minute later, beats start getting added and subtracted, multiplied and divided, mashing up the rhythm. Going further out, illbient keyboard drones start to smother the beats, garnished with more bits of chopped up rhythm. Now you realise you’re on a journey to the heart of pure improv with samples. We Can And We Must certainly has rhythm, but not in the singular. "Dance Party with Cosmic Cow" begins with the same idea, except it morphs from a kick drum dominated garage groove into live samples of electric bass punctuated by keyboard riffs. The Logan's Run-inspired "Question — Do I Get My Four Years Back?" is hilarious retro-futurism re-futurised for the here and now. The closer, "The Trouble with Zdanov," cuts up orchestral samples with a narrative from Zdanov's denouncing of Shostakovich. Shostakovich’s defence is an allegory for the whole album: is a composer great because he follows his own instincts or because his music pleases the people? Definitely some instincts have been followed here. (Independent)