Basement Jaxx have succeeded for over a decade in creating an incredibly fun dance records that attain a surplus of musical and lyrical depth. The duo are as mainstream as a dance act can get, yet they never fear sounds that May be foreign to the average listener. In fact, they seem to build Scars on these obscure noises, whether it be a woman having a- uh, sexual episode (’Day of The Sunflowers’), A combination of the “Percolator” and ‘Flashdance’ (’Twerk’) or a wailing jazz singer with a wonderful rasp (’She’s No Good’). Basement Jaxx are willing to take it all on, and they do so beautifully.

With the integration of mainstream music and electronic being all the rage, it seems easy enough to take synth, bass and a singer and throw it all together within a few moments. However, Basement Jaxx don’t take their challenges lightly, and this record exemplifies their importance and influence in their genre and music in general. The title track, which features Kelis, is a big highlight, and seems to be BJ’s nice way of showing everyone how easy it is for them to make a radio-ready track’if radio is ready for a classic choir from outer space. But Jaxx don’t stop there, expand their repertoire throughout Scars by partnering with top flight guests such as Santigold and Yoko Ono, who further prove Simon and Felix’s versatility and relevance. If you’re wondering what electronic music is missing, look no further: Scars should serve as a reminder (if you needed one) that Basement Jaxx are an essential piece of the puzzle.

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