When Anti-Pop Consortium announced that it was breaking up way back in 2002 (or ’03 dependent upon whether or not you count the Matthew Ship helmed disc as a proper Anti-Pop release) it seemed like the end of an era. It kinda was. There wouldn’t any longer be a central figure in the weirdo, off kilter rap game. Surely, Anticon and Def Jux were still around, but no one on either of those rosters sat in the same territory of Beans, M. Sayyid and Priest. How could they? The confluence of electronics, BK styled rap stuff and plain artistic invention was so succinctly reveled in over the Anti-Pop discography that it simply couldn’t have been approached again.

But for some reason, the trio’s gotten back together.

Beans mounted a semi-successful solo career over the space of a few discs and a tour with the Majesticons. Priest and M. Sayyid didn’t fare as well – it’s not that neither released new music, it’s just that Beans was unquestionably the most visible. And the reasons for that are amply displayed over the track list of Fluorescent Black.

The newest disc from this soon to be considered classic ensemble has been referred to as the trio’s strongest. That’s not able to be quantified seeing as this isn’t math, but art and music. Of course, the fact that the palette Anti-Pop makes use of over the course of Fluorescent Black’s seventeen tracks sounds much expanded even from the past might be why folks have figured this to be the culmination of a career. But that’s vapid. More variation isn’t why the disc succeeds – even if Tragic Epilogue remains more consistent.

“New Jack Exterminator” finds Anti-Pop in roughly the same territory as in the past. Everyone takes a verse and the results are all just short of jaw dropping. But that’s to be expected. If there weren’t tracks to evoke such admiration from the listener, Fluorescent Black would be just another joke. Unfortunately, there’re a great many instances of the group working to incorporate a more electronic approach then ever attempted before – and that’s saying something considering the production from 2002’s Arrhythmia, the group’s last full length before  taking a break.

Releasing a video for “Volcano” would lead most to believe that the track was the pinnacle of this newest disc. It’s not. There’s a bit of a Parliament vocal style utilized early on that’s ingratiating, but the production that seems more dance-floor ready than necessary detracts from each emcee’s verse. The bubbley noises in the background work to make the track an even more esoteric work than necessary. It’s not bad and Beans’ last verse is able to be nothing short of pleasing, but the production seems at once too extreme and radio ready. Weird.

Yes, “the abstract rap pack is back” and everyone should be pleased about it. We’ll see how long this second honeymoon lasts. But while they’re around everyone needs to get on board – there just aren’t too many folks in the game now with a vision like this. And it needs to be supported even if there’re a few ill conceived moments spread out over the fifty five minutes of music.