Mike Paradinas (aka µ-Ziq) has, over the years, established himself as one of the leading playaz in the electronic music industry by creating (with the help of people like Aphex Twin and Squarepusher) a new sub-genre of jungle music, lovingly referred to as "drill-n-bass." His trademark skittering beats, packed to the bone with archaic video game sound effects and melodies that were as memorable as they were inventive were an inspiration not only to millions of aspiring DJs and producers, but to writers like myself. Paradinas proved that not everything had been done, and that, when peppered with genius, drum-n-bass could tackle any other style of electronica and knock it to the floor with one perfectly programmed punch.

What a shame, then, that on The Fear, the EP that previews his latest long player, Royal Astronomy, he would practically abandon his acclaimed drill-n-bass sound and opt for digitized string sections and a lifeless female vocalist. On the EP's opening and title cut, we're presented with a repeating (and not all that stimulating) chord structure that is neither as catchy or clever as the stunning stuff off 1997's classic Lunatic Harness and its subsequent singles. Just then, vocalist Kazumi makes her overwhelmingly casual appearance (she offers no emotion whatsoever, as though she's just there to get paid), singing unintellegible lyrics over beats that seem like effortless emulations of the drum tracks from "Brace Yourself" and "Hasty Boom Alert."

"Houzz 8" is, as proclaimed by its abstract title, house music. Forgive me if I sound a little irritated, but this guy is capable of bigger and better things. The stale bass-kick, hi-hat and handclaps do nothing for the overly complex and dischordant keyboard freakout. "Morning Frolic" is The Fear's standout track, with its dark, layered orchestration and computerized soprano. Unfortunately, the percussion goes absent on this number, and it's sorely missed. The end result is a stripped-down, skeletal track that could just as easily have been penned by any one of today's generic Hollywood filmscore producers.

The Fear ends with a trip-hop take on the album's title cut, another genre Paradinas could stand to stay away from, if only because he brings nothing new to the table. What's more, the track is horribly distorted-- a trait which might have been more welcome had it not sounded so incredibly accidental.

So, I don't know what to say, really. Perhaps Paradinas was feeling experimental and wanted to take it out on an EP rather than cram the stuff on to the full-length. Or maybe he's searching for a new sound. Hopefully, this is the case. I'd hate to see all that talent wasted.

-Ryan Schreiber