Sine Tempus

Goldie remains a huge influence on me, and I was reading up on his film that he's been working on for a long time, Sine Tempus, he's said its a coming-of-age story about a young paintbrush artist, which draws a whole bunch of parallels to Goldie's life. A few years back he released the soundtrack to the film saying it was out 'soon'. That was 2008, and while no film has surfaced the soundtrack will certainly tide me over till then, it's very visually evocative, as is the art for the album.

Onto the tunes, they bridge a full spectrum of moods befitting the film. Opening we have the downtempo trip hop styled number Don't Give In which reminds me slightly of State Of Mind from Timeless, the contrast between the cascading beats and the piano is pretty special.



It's not long before the darker side of Goldie starts to show. The haunting intro to Letting Go gives way to an onslaught of breaks, the transition is so sudden that it almost takes you by surprise and it barely lets up over the seven minutes.



The album doesn't let up much either, changing up to a more anger fueled sound it's not hard to see this fitting into the soundtrack somewhere, especially when considering it's quite probably based on his own story; to quote the man himself from this track "Wake up, Smell the fuckin' roses"

Moving onto a more reflective tune now, featuring another haunting intro. This time, instead of flooring you with a sudden explosion of sound, Rhythm Killa eases you into it,m builing toa big crescendo after the break around 4:20. This one kinda has a nostalgic tint to it, but that could just be the brilliant self sampling from his first album's title track Timeless on this one.



Continuing the reflective theme, this next tune sees the return of both Natalie Williams and the piano accompaniment from Don't Give In. It's a stark contrast to tracks like Breakin Glass for sure, but the mood it creates is fantastic and befitting of a soundtrack.



And finally, closing the album we have Chances, featuring some Fever Ray-esque pitch shifting. It sees the return of the sax from Timeless, but the beats are much more subdued, fitting as it's the album closer and all. Speaking of, the ending section is nothing short of fantastic as the sax gets it own moment in the spotlight before it fades away.



Being an arty type, it's certainly interesting to see this play out, Goldie has said he wants to bridge the gap between visual art and music with this LP, and I think to an extent he has. It's going to be interesting to see a film with a unconventional soundtrack like this, if it ever surfaces.

Without Time,
-Claude Van Foxbat