Method Man and the GZA are noticeably absent from Chamber Music. And that alone might be the only thing keeping the disc from counting as a proper Wu Tang Clan album. But considering the fact that each emcees contributions to past long players haven’t necessarily been all inclusive, it kinda seems like splitting hairs. Regardless of that, Chamber Music has the overwhelming feel of a Wu group effort – possibly even more so than on 8 Diagrams. Whether or not that last proper group release sated fans, what Chamber Music does is return the crew to a formative and pleasurable base. Kinda.

The harrowing moments of 36 Chambers were the times when the musical backing on any given track were stripped of artifice – taken down to a beat and maybe some twinkling keys. And that’s really how Chamber Music succeeds. It can’t be said that the RZA helmed this work in the same way as past efforts, but he did pick up an executive producer’s credit along the way. Despite that, though, the music isn’t all sample based on this disc – yeah, there’s still a good deal of kung-fu stuff represented – but what rappers go in over are organic funk tracks provided by a proper, living band.

While the backing, courtesy of the Revelations does a good deal to return the Wu back to its hey day, the RZA takes time out from the thirty five minutes of music to talk to listeners and philosophize for just about seven. It’s not that he’s not an interesting, intelligent dude, but breaking up the disc in such a manner doesn’t serve the album as a whole. Including some more kung fu movie samples and discussion of warring tactics isn’t out of character – or context – but when the Wu finally arrives with a true hip hop disc (no disrespect intended) its frustrating to have the endeavor disrupted by idle chit chat of any variety.

I was hesitant to write on the subject of this album – which accounts for the disparaging amount of time between Chamber Music’s release and the date affixed to this posting – because the disc is two things at once. Firstly, it’s a return to form as Inspectah Deck and U-God are accompanied by Sadat X or Masta Ace showing up on the second track. At the same time, though, it’s not a coherent, concerted effort to craft a singular disc.

No one should believe that the Wu crew is just phoning it in at this point. But with the wealth of releases this year, it might be construed that the affiliated emcees are spread too thin. Of course, the fact that Raekwon’s disc is one of the best ten rap albums of the decade doesn’t point to that fact, but Chamber Music could have been more than it wound up being. That’s a downer. The twenty seven minutes of true school raptastics here, though, should make up for any perceived short comings on this disc or even in the Wu’s back log of work. Highly, bloody recommended.