Let’s just say it right at the start. In “Sound Mirrors” Coldcut have made the best album of their long and illustrious career. It’s not something you can state lightly, but there you are. Their production has never sounded better, their ideas have never been more various or interesting, they’ve never had such a great cast of guests and then integrated them into their sound so well. Yes, it’s a record that is deeper, funkier, cleverer, more engaged and more engaging than anything they’ve done before. And, it follows from that, it’s deeper, funkier and cleverer than just about anything else around right now.

The album opens with “Man In A Garage,” a tune which instantly gives a big clue as to what “Sound Mirrors” is all about – the combination of great song writing with contemporary production smarts. John Matthias give a beautiful, low key, folk-edged performance while Matt Black and Jon More hook up a rhythm that wouldn’t sound out of place on an Aaliyah record. The result is an aching, melancholy glitch-blues.

Next, “True Skool” crunches in. Featuring Roots Manuva on some post Bangles, instant pop dancehall classic business, this will echo round your cranium for months. The Rootical one, a man who has held the “Godfathers” in the greatest esteem since joining the Ninja/Big Dada camp back in ’98, drops a heavyweight performance, obviously revelling in Coldcut’s grasp of the interface between the classic and the bubblegum.

Coldcut then take a moment to indulge their edgy-club-paranoid side, with the driving “Just For The Kick.” Lyrics are provided here by Annette Peacock, best known for her work on the leftfield jazz label ECM, but showing here a snarling poise perfectly suited to the weight of the music.

“Walk A Mile” features the legendary Robert Owens on an epic, building, hands in the air, push-up-ya-lighters tune that (whisper it) perhaps betters Coldcut’s legendary “Autumn Leaves”. It amply demonstrates the duo’s understanding of pop music but also its interface with rave’s euphoric sweep. Oh, and they even end up with a little Reichian serialism, in case anyone thinks they’ve sacrificed any of their musical vision’s reach.

From hereon in the album continues to broaden and deepen. “Mr Nichols” combines a beautifully subtle piece of music with a superb, deadpan piece of writing from Saul Williams. Former Ninja Andrew Broder aka Fog offers wonky, melancholy lyrics over a faltering kitchen sink orchestra backing on “Whistle And A Prayer”. Warm-up single “Everything Is Under Control,” with guests Jon Spencer (of “Blues Explosion” fame) and rapper Mike Ladd, revs up a chugging hip hop rock template that nods back to classics like “Beats & Pieces” while giving them a raucous, contemporary edge.

“Boogieman” continues the bogled-out theme established by “True Skool” but turns it into a stripped down, technoid classic, albeit one featuring the words of legendary Black American poet Amiri Baraka. On “Aid Dealer” sometime saxophonist and Mercury-nominee Soweto Kinch serves up a stinging lyrical attack on the aid industry before the tempo is pushed even further on “This Island Earth,” featuring the hotly-tipped Mpho Skeef.

Perfectly poised, “Colours The Soul,” with assistance from Dom Spitzer, takes the record toward its end with the kind of psychedelic maximalism that shows musicians absolutely confident in themselves and their abilities, a genuine track. “Sound Mirrors” offers a darker coda to the upbeat tone of “Colours…”, a swirling, semi-psychotic piece of instrumental music which sounds not unlike the London Philharmonic Orchestra being thrown through a wormhole.

At a time of intense musical conservatism it’s bracing to find a production team who are still willing to push and to keep pushing but who, in doing so, create inspired, accessible music that transcends genre. This is a record which shows once again that Coldcut acknowledge no boundaries and set themselves no limits and, that in doing so, they create timeless records for whoever is prepared to join them. A moment’s reflection should be enough for you to know that it’s time to listen.

Coldcut - “Sound Mirrors” - Selected UK Print Press Quotes so far…


"Wildly varied, endlessly enjoyable and breaks every rule in the book… steers a course between sonic innovation and commercial appeal."
Guardian 4/5 Album of the Week

"A classy album, jam packed with ideas and variety… bursting from the seams with quality sounds."
Sun 5/5

"Has the cutting edge that modern day contemporaries couldn't create if they had full instructions. Sound Mirrors is remarkable… truly a master-class in beat science from start to finish.”
NME 8/10

“One of the most vital and imaginative records that Jon More and Matt Black have ever made.”
Mojo 4/5

“The most expansive and musically satisfying album of their multi faceted career.”
Daily Telegraph

“Sound Mirrors finds the pioneering duo at their eclectic best, and firing off in all directions… full of quirky treasures.”
Independent on Sunday 4/5

“Should reaffirm the faith of fans of old, as well as introducing these maverick producers to a new generation… Coldcut's standout talent underpins every part of this record… this lot can still cut it.”
IDJ - 5/5 Album of the Month

“Woohoo. Coldcut detonate Sound Mirrors with all guns blazing… Sound Mirrors is alive with restless imagination… Forget history. This is year-zero… an essential return... This is a duo at the top of their game delivering a kick in the intellect.”
DJ Mag 4.5/5 Album of the Month

“Recalls Massive Attack at their distant peak.”
The Times 4/5

"This bold album is based on the idea that music is best when it's funky and wide open to suggestions."
Daily Mirror 4/5 Album of the Week

“The original kings of UK dance music return with a corker of an album, that's fun, varied and very listenable.”
Daily Express

“The cut up pioneers return with their most varied and successful album to date.”
Music Week - Album of the Week

“This is an album that reaffirms Coldcut as masters of their form. Welcome back guys…”
DMC Update - Album of the Week

“What With VJing, remixing and running Ninja Tune, Coldcut certainly haven't been sitting on their arses since 1997's ”Let us Play”. It'd take eight years to unravel all the details here, which is probably as long as we'll have to wait for everyone else to catch up with them again.”
Touch - Alternative Album of the Month

“A record that is deeper and more engaging than anything they've done…”
Record Collector 4/5

“An album is never just an album with Coldcut. It is the start of an adventure.”
Metro

“A slick LP that will confound your expectations.”
Dazed and Confused

“Still passionately engaged with future music…a feast for the ears”
Mixmag

“Wildly eclectic, smartly selected, and without doubt the best thing Coldcut have ever done”
Rocksound 8/10

“It's amazing to see that through the rise and fall of commercial house house, grunge, super clubs and Britpop, Coldcut are still here cutting it up alongside newcomers like Mylo and LCD soundsystem… sound as a pound.”
Clash

“Never sounded so good. Sound Mirrors is mightily impressive; the production flawless and the songwriting exhilarating.”
Blues & Soul

“Sound Mirrors is nothing short of awesome,”
The Fly

“As eclectic and contemporary as Massive Attack in their prime”
Tune Tribe

“Coldcut are the influencers not the influenced… classy”
Time Out

“Coldcut come again - full blooded and schizoid … Still as fresh and relevant as ever.”
Straight No Chaser

“Transcends musical genres and pushes the boundaries of musical conservatism… This new album proves Matt Black and Jon More to be as engagingly cutting-edge and unpredictable as ever.''
Knowledge 4/5

“Musically they couldn't be more ahead of the game, continually refining and developing their skills….”
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