There will, of course, be a beautiful, Ballardian wreck when drum-n-bass crashes into the buffers, as it's now certain to do. So, we at least have that to look forward to while we reflect upon how all things must eventually die. Yet, no one can destroy energy; drum-n-bass' fury will be transformed into a different, even more energizing form.

Until that crash actually occurs, though, we must wade through compilations such as this one. Luckily, The Greatest Hit is a welcome round-up of genre-pioneer Justice's early work in the field of atmospheric jungle. Tony Bowes (for Justice is he) co-wrote "Death Row" with long-time collaborator Blame. And many trainspotters mark the track as the year-dot for drum-n-bass. Alas, "Death Row" is not included here, so unless you have it lying around your turntable, we can't debate this too meaningfully. The record also omits what is arguably Bowes' most renowned track, "Repro House," from the Emotions with Intellect album he recorded under his Icons moniker. What you do get is Justice's firm rollerz remixed by types most likely to be on reconstruction duties.

Thus, DJ Pulse tackles "Aeronautics," turning it into a breakbeat version of one of those ambient excursions Pete Namlook trotted off by the truckload in 1993. The Andean throat call is a particularly appealing retro touch. "Super Nouveau" fulfills at least one half of Bowes' promising title-- it rolls through electro snaps and tape loop distortions that recall the ambient work of Brian Eno and Jon Hassell. Top this off with some cracking breakbeats and you've got a stand-out nostalgia trip.

For "Razor Shock," Justice reformats the hardcore rave/ragga style for a more relaxed and pleasurable assessment of some hideously bleak dystopian future yet to engulf us all. The subsonic bass bounces while a taut wire synth figure springs hither and yon in search of illusive stasis.

Rougher than LTJ Bukem, Justice doesn't attempt to create soundtracks for unrealized films; he's more a beathead, fascinating us and himself with his deft polyrhythms without indulging in any testosterone-induced displays of drill-n-bass prowess. His synth padding is never overambitious or cloying and his bass lines are never gut-wrenching. And on the evidence of this career round-up, the post-junglist work that lies ahead for Bowes will doubtless be as massive as his size-fifteen feet.

-Paul Cooper